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PHOTOGRAPHIC' 

WORKROOM 

HANDBOOK 

BY SIGISMUND BLUM ANN 


Third Edition 


July. 1930 


COPYRIGHTED 1930 
BY 

CAMERA CRAFT PUBLISHING CO. 

?03 MARKET ST. SAN FRANCISCO. CAL. 


I.C. 




GUIDE TO ADVERTISERS 


Agfa Ansco Corporation .V 

Brooks, Burleigh.I 

Burroughs Wellcome 6? Company...I 

Camera Craft Book Service.......IV'VTVITX'XI 

Camera Craft Publishing Company...ITVIII 

Central Camera Company.IX 

Drem Products Corporation .XIV 

Haloid Company, The .Ill 

Hammer Dry Plate Company .. XI 

Holliston Mills, Inc......XIII 

Murphy, Inc., George .I 

Pinkham 6? Smith Company . I 

San Francisco Camera Exchange.VI 

Smith 6? Sons Company, James H...:.XII 

Victory Manufacturing Company «.IX 

Willoughbys . VII 

Zeiss, Inc., Carl .XII 

m 

OCT 31. 1930 

©CIA 29739 . . 



















INDEX 


ACID HARDENER . 

ADVICE, GENERAL .. 
AIR BRUSH COLORS 


AMATEUR raOTOGRA?HER, C fe Cleanini Xir 

AMIDob-pfc^r eP Fil^ e " Fe "' Days - Bromid « 

APERTURE . .. 

AVOIDANCE OF GRAIN ZZZZZZ'Z”. 


17 

98 

71 

83 

2 

3 

82 

68 


BACKING PRINTS, CLOTH . 

BLACK TONES FOR BLUE PRINTS 

BLACKENER—Brass and Copper . 

BLACKENING BRASS' .. 

BLUE PRINT HINTS . 

BLUE PRINT SENSITIZERS . 

BLUE PRINT TONERS . 

BOOKS . 


BROMIDE TONERS (O. Kuhne Formula)—Hydroquinone. 32 

BROMOIL BLEACH as used by Louis A, Goetz. 52 

BROMOIL BLEACH, Emil Mayers’ Formula. 52 

BROMOIL BLEACHERS . ' ' 52 

BROMOIL DEVELOPER . . 49 

BROMOIL FIXER . ' 50 

BROMOIL PROCEDURE . 49 

BROMOIL PROCESS . 49 

BROWN TONES IN DEVELOPMENT—Gaslight and Bromide Papers. 15 


CAMP-FIRE SCENES . 

CAMPHENOL SULPHUR .. Z . 

CARE OF THE HANDS . 

CARE OF A LENS . 

CELLULOID NEGATIVE VARNISH .. 

CHEMICALS, AGFA-ANSCO SPECIAL . 

CHOICE OF A LENS . 

CHROME ALUM RINSE BATH FOR ROLL FILM . 

CHROMIUM INTENSIFIER—Plates and Films . 

CLEANING THE BRUSHES . 

CLEANER FOR BRASS .... 

CLEANER—Nickel Plating . 

CLINICAL, DENTAL, MEDICAL AND SURGICAL PHOTOGRAPHY. 

COMMERCIAL PHOTOGRAPHER, The . 

COMPARATIVE VALUE OF STOPS . 

CONCENTRATED SOLUTION . 

CONVERSION OF FRENCH (METRIC) INTO ENGLISH MEASURE, The. 
.Measures of Volume—Weights 

CONVERSION OF FRENCH (METRIC) INTO ENGLISH WEIGHT, The. 

CONVERSION OF METRIC INTO AMERICAN MEASURE, The. 

COPYING METHODS—Exposure . 

COPYING OF PROCESS FILMS OR PLATES . 

On Commercial Ortho Films or Plates 
Portrait Film or Plates 

COPYING WITH SCREENS OR RAY FILTERS . 

COPYING STAINED PRINTS .-. 

CUTTING-MACHINE LIGHT . 


84 

61 

52 

82 

55 

18 

82 

21 

30 

51 

59 

60 
94 

67 
93 

1 

89 

90 

91 

68 
69 


69 

69 

67 


DARKROOM LABORATORY IN A CIGAR BOX, A. 100 

DARKROOM, The .-. 56 

DECKLE OR FEATHER-EDGE PRINTS AND MOUNTS. 64 

DEEP TANK DEVELOPER FORMULA (D-18) FOR KODAK AUTOGRAPHIC 

AND N-C FILM . 9 

DEEP TANK FIXING BATH AND HARDENER FOR ROLL FILM. 22 

DE-FATTING . 51 

DENTAL AND CLINICAL, MEDICAL, SURGICAL PHOTOGRAPHY . 94 

DESENSITIZERS . 15 

DEVELOPER, For Agfa Ansco Films and Papers. 16 

DEVELOPER, For Blue Black Tones on Azo Paper.-. 10 

For Photo Finishing and Commercial Purposes 
DEVELOPER—Fine Grain . 98 
































































DEVELOPER—Great Contrast—Bromide and Gaslight Papers... 6 

DEVELOPER—Kallitype .. 43 

DEVELOPER—M. Q. Concentrated—Plates, Films and Papers .. 6 

DEVELOPER For Portrait Prints on Azo Paper . 13 

DEVELOPER For Producing three degrees of contrast, suitable for VITAVA 

ATHENA, Grades A, B, C, D, E and T... 11 

DEVELOPER For VITAVA ATHENA, Grades A, B, C, D, E, and T; VITAVA 

ALBA, VITAVA RAPID BLACK AND VITAVA ZELTA . 12 

DEVELOPER for VELOX, AZO, EASTMAN AND P. M. C. BROMIDE PAPERS 14 
DEVELOPER For VITAVA ETCHING BROWN, ATHENA OLD MASTER, 

ATHENA LINEN FINISH AND ATHENA GRADE F. 13 

DEVELOPER For VITAVA RAPID BLACK. 12 

DEVELOPING FORMULA CHART . 2 

DEVELOPMENT IN GENERAL . 85 

DEVELOPMENT OF PANCHROMATIC EMULSIONS . 15 

DEVELOPMENT POINTERS .... 2 

DEXTRINE SYRUP . 55 

DRY CHROMATE INTENSIFIER—Plates and Films. 31 

DRY MOUNTING ADHESIVE . 62 

EBONIZING . 59 

ENGLISH WEIGHTS AND MEASURE . 87 

Apothecaries’ Weight—Fluid Measure 

Apothecaries’ Weight—Fluid Measure—Avoirdupois Weight—Troy Weight 

EQUIVALENTS . 1 

ETCHING ON GLASS . 62 

EXPOSURES . 70 

FERRICYANIDE-AMMONIUM BLEACHER .-.. 36 

FERROUS SULPHATE TONER . 36 

FILTERS . 97 

FITTING A STUDIO . 72 

FIXERS . 20 

FIXERS . 21 

FIXING ..:.. 20 

FIXING BATH—RAPID .... 21 

FIXING BATH FOR VITAVA, VELOX, AZO AND BROMIDE PAPERS. 22 

FLASHLIGHTS . 83 

FRILLING .-. 71 

GASLIGHT TONERS For Artura, Vitten, Cyko En, and All Chlorides Green. 36 

GLAZING SOLUTION, OX GALL. 70 

GLYCIN (Hubl)—Plates, Films, Papers. 3 

GLYCIN-HYDROXIDE (Blumann)—Plates, Films, Papers. 3 

GLYCIN, Tank—25 Minutes—65°—Plates or Films. 3 

GOLD METAL TONING BATH .-. 36 

GOLD TONE—Red . 32 

GLASS' AND BOTTLE . 60 

GRADUATED BORDERS .. 64 

GREEN TONER FOR BROMIDE PAPER. 37 

GROUND GLASS SUBSTITUTE OR VARNISH. 62 

HALATION . 68 

HALF-WATT LIGHT AND H. & D. MEASUREMENT . 78 

HAND STAIN REMOVER FORMULA S-5. 19 

HINT . 64 

HYPO . 1 

HYPO-ALUM TONING BATH For Sepia Tones on Vitava and Azo Papers. 34 

HYPO PLAIN . 20 

HYPO TEST FORMULA HE-1. 23 

ICHTHYOL . 61 

IMPERIAL BRITISH FLUID MEASURE. 88 

IMPROVED BLEACHER . 34 

IMPROVERS—Bromide Papers . 40 

INKS . 50 

INKS—Label Inks For Glass, China, Etc. ; For Prints or Negatives. 62 

INTENSIFIER AMIDOL—Bromide Paper .*. 30 

INTENSIFIER, Amidol—Great Density—Plates or Films. 29 

INTENSIFIER—Bromides and Chlorides . 31 

INTENSIFIER, Pyro—Fine Grain—Plates or Films . 30 

INTENSIFIERS, Amidol—Bromide Papers .—. 29 

INTERIOR PORTRAITS ....... 84 

INTERIORS BY ARTIFICIAL LIGHT . 85 

KALLITYPE—Sensitizer . 43 

LABELS . 1 

LABORATORY IN A CIGAR BOX, A DARKROOM. 100 





































































LAYING ON THE INK . 50 

LENSES—Focal Length ... 82 

LIBRARY PASTE . 61 

LIGHTNING OR FIREWORKS . 83 

LOCAL INTENSIFICATION . 24 

LOCAL REDUCING . 24 

MAKING PORTRAITS, by J. Anthony Bill. 78 

MANIPULATION . 35 

MASKS FOR DOUBLE PRINTING . 64 

MEDICAL, SURGICAL, DENTAL AND CLINICAL PHOTOGRAPHY. 94 

METOL—Soft Effects—Bromide Papers ....... 5 

METOL—HYDROKINONE—ANSCO PROFESSIONAL PAPERS. 17 

METOL—HYDROKINONE—NOKO PAPERS . 18 

METOL—HYDROKINONE—POSITIVE FILMS . 17 

METOL—HYDROKINONE—TANK—FILMS OR PLATE . 17 

METRIC FLUID MEASURE . 88 

METRIC SYSTEM OF WEIGHTS AND MEASURES . 86 

Measures of Length—Measures of Surface 

MIXING SOLUTIONS . 1 

MOONLIGHT EFFECTS . 83 

N. C. FILM HARDENER . 22 

NEPERA SOLUTION—Bromides or Chlorides .„. 6 

NOTE . 13 

NOTE . 64 

NOTES . 43 

NOTES ON BLUE PRINTS . 42 

NOTES ON INTENSIFICATION . 27 

ODDS AND ENDS . 51 

OPAQUE . 55 

OUTFIT RECOMMENDED . 49 

OUTLINE OF THE SCIENCE OF PORTRAIT LIGHTING, An, by O. J. Smith.... 75 

OVERCOME HALFTONE SCREEN, To . 69 

OX-GALL GLAZING SOLUTION . 70 

PANCHROMATIC DESENSITIZING . 15 

PANCHROMATIC DEVELOPMENT . 15 

PANCHROMATIC PHOTOGRAPHY . 70 

PAPER NEGATIVES' . 63 

PERCENTAGE SOLUTIONS, To Mix . 1 

PHOTOGRAPHIC INTERIORS . 84 

PHOTOGRAPHING AT NIGHT . 84 

PHOTOGRAPHING SHINING METAL . 60 

PHOTOMICROGRAPHY . 96 

PLATINUM PAPER . 44 

PORTRAIT AND DIAGRAM, by J. Anthony Bill. 7 

PORTRAIT AND DIAGRAM, by J. Anthony Bill. 8 

PORTRAIT AND DIAGRAM, by J. Anthony Bill. 25 

PORTRAIT AND DIAGRAM, by J. Anthony Bill. 28 

PORTRAIT AND DIAGRAM, by J. Anthony Bill. 45 

PORTRAIT AND DIAGRAM, by J. Anthony Bill. 48 

PORTRAIT AND DIAGRAM, by J. Anthony Bill. 65 

PORTRAIT AND DIAGRAM, by J. Anthony Bill. 66 

PORTRAIT AND DIAGRAM, by O. J. Smith. 26 

PORTRAIT AND DIAGRAM, by O. J. Smith. 27 

PORTRAIT AND DIAGRAM, by O. J. Smith. 46 

PORTRAIT AND DIAGRAM, by O. J. Smith. 47 

PORTRAITS AGAINST WINDOWS . 74 

PORTRAIT SUGGESTIONS' . 81 

PYRO, Good Quality and Fast for Negatives—Plates and Films. 9 

PYRO DEVELOPER FOR PAPER . 6 

PYRO, TANK—12 minutes—65°—Portrait Films . 16 

PYRO, Tank—20 Minutes—65°—Plates or Films . 14 

PYRO, Tank—20 Minutes—65°—Plates or Films . 15 

PYRO, Tank—30 Minutes—65°—Plates or Films .-... 14 

PYRO-METOL, Tank—Keeps Well, Plates or Films. 15 

PYRO—METOL, TANK—FILMS . 16 

PYRO-METOL for Negatives and Bromides .-. 10 

PYRO-SODA—Plates and Films, B. J. Non-Staining Formula . 9 

RE-DEVELOPER . 34 

RED TONER—Bromides .. 33 

REDUCER, Ammonium Persulphate—Plates and Films. 29 







































































REDUCER—Belitzski—Plates and Films . 24 

REDUCER AND CLEANER—Bromide Papers .. 40 

REDUCER—Farmer—Plates and Films .. 29 

REDUCER AND STAIN REMOVER—Plates or Films . 29 

REDUCER TO LESSEN CONTRAST—Plates and Films . 24 

RETOUCHING .-. 53 

RETOUCHING ABRASIVE ..... 54 

RETOUCHING DOPES . 54 

RETOUCHING DOPES .-. 55 

RODINOL—Plates, Films and Papers ... 19 

SCRATCHES ON GLASS . 55 

SENSITIZER—Blue Prints . 41 

SENSITIZER—Blue Prints .-. 41 

SENSITIZER—Blue Prints . 41 

SEPIA PAPER . 44 

SEPIA RE-DEVELOPERS For Velox, Azo and Bromide Papers . 35 

SEPIA TONER .-... 33 

SEPIA TONER FOR BLUE PRINTS' .. 42 

SHELLAC—Water Solution—For Negatives—For Prints . 60 

SHORT STOP FORMULA SB-1 . 19 

SOAKING THE PRINT . 50 

SPEED OF PLATES AND FILMS . 67 

STAIN REMOVER .—. 52 

STAINED FINGERS .-. 61 

STALE PAPERS . 31 

STOCK HARDENER . 34 

SULFIDE TONING ..„. 34 

SUMMARY . 51 

SUPPLEMENTARY HARDENER F-20, A . 23 

SURGICAL, DENTAL AND CLINICAL, MEDICAL PHOTOGRAPHY ._. 94 

TABLE SHOWING TPIE COMPARISON OF THE READING OF 

THERMOMETERS . 92 

TEST FOR HYPO BATH . 21 

TONER, Blue—Bromides . 39 

TONER, Blue—Bromides and Chlorides ... 39 

TONER, Blue—Bromide Papers ... 39 

TONER, Brown—Bromides . 33 

TONER, Brown to Red—Bromides ... 33 

TONER, Copper Red—Bromides and Chlorides . 33 

TONER, Emerald—Bromide Papers . 37 

TONER, Green—Bromide Papers . 37 

TONERS, Gaslight-green for Artura, Vittex, Cyko, Enlarging and all Chlorides.... 38 

TONER, Green—Bromides and Chlorides ... 38 

TONER, Kugler Formula ; Green—Bromides . 37 

TONER, Malachite Green—Bromide Papers .. 38 

TONER, Purple Brown—Bromides and Chlorides ... 37 

TONER, Violet Brown—Bromide Papers . 36 

TONERS, Various Colors—Bromides and Chlorides . 39 

TONING BLUE PRINTS' . 41 

TONING, by Re-development—Bromides and Chlorides . 40 

TONING, Green—Notes on . 38 

TONING IN DEVELOPMENT—Bromides and Chlorides . 35 

TONING KALLITYPES . 44 

TRANSPARENTIZER—Papers . 63 

UNITED STATES FLUID MEASURE ..... 88 

UNITED STATES WEIGHTS AND MEASURES . 87 

Volume—Liquid 

Fluid—Troy Weight—Apothecaries’ Weight—Avoirdupois Weight 

UNIVERSAL NEGATIVE DEVELOPER . 5 

UNIVERSAL PAPER—Bromides or Chlorides .„. 5 

UNIVERSAL PRINT DEVELOPER . 4 

VARNISHES ._.;. 97 

VEGETABLE GLUE—Very Fine . 61 

VELVET TONER—Improves any Print—Bromides . 34 

VIGNETTING . 63 

VIOLET TONER FOR BLUE PRINTS . 42 

WARNINGS . 51 

WAXING SOLUTION FOR PRINTS . 63 







































































PREFACE TO FIRST EDITION 


i'\ITH so many fine books on the market—such big, complete books 

/ I J —one might consider the present modest volume redundant and 

v^/ presumptious. I have had moments of doubt when the purpose 
was lost in the seeming inadequacy, and the persistent kindliness of 
my friends in speaking of Blumann’s book made me doubly timid. But 
the fact is brought home to us, in these offices in which CAMERA 
CRAFT is conceived and consummated, that just this kind of a book is 
wanted. The first purpose has been kept in view, to make it handy and 
authoritative; the first intention conserved to permit nothing between 
its covers but what is of every day use. 

You shall find only two or three recipes under any heading and these 
the simplest, best, and most easily compounded. In no case are they 
mere reprints taken on trust, but have been tried again and again 
under test conditions and in the way in which the reader should be 
likely to use them. 

Nor is all the matter submitted just compilation, since some original 
research, and much data collected from original sources has been 
gathered to serve the object of the handbook. 

Let me, also, at this time, pay the reader the compliment of stating 
that in deference to his good sense and understanding all long and un¬ 
necessarily minute directions have been omitted. If the text be not 
foolproof it is because it has not been issued to fools. It is presumed 
that purchasers of a handbook of this sort know that chemicals are to 
be dissolved in the order given and that the next chemical is not to be 
added to a solution until the last has dissolved; that it is safe to con¬ 
sider every photographic chemical as poisonous. They are not all 
dangerous but none is good to eat or drink. 

When you want to develop your negatives turn to the proper page 
and readily find the formula you know suits your needs. There will be 
no mass of other formulae through which to wade. When you want to 
tone a print you will find that recipe with ease and will, moreover, find 
it does what it is intended to do. Follow the operations as printed and 
be done with the job. 

There is no literature herein. The chapters on Retouching, Portrait 
Lighting, Bromoil, and so forth are limited to real, unelaborated in¬ 
formation. If, through the inadvisability of attempting to teach what 
cannot be taught within the scope of this book the directions be meager, 
then the best sources of information have been recommended. 

I have a very definite purpose, to repeat, in giving you this little 
work. May it be granted to have given you what suits your purpose. 

My readers have always been my friends and so this preface shall 
be my dedication to them. 

SIGISMUND BLUMANN, A.R.P.S. 

San Francisco, California 
December, 1926 


PREFACE TO SECOND EDITION 


The first edition of this book sold into the thousands so rapidly, and 
brought so many letters of the most encouraging kindness- from men 
in every walk of life, amongst whom are numbered scientists of na¬ 
tional renown, that the publisher has thought well to put much of 
the profit into a better format for the second issue. 

To the highly respected heads of departments in the local Academy 
of Science, of the Astronomical Observatories in several parts of the 
country, and of the Universities in this state and elsewhere I wish to 
say that their commendation and correspondence has been in the 
nature of a tremendous encouragement to convince me that simplicity 
and a colloquial style are acceptable. The vast number of readers and 
correspondents who have expressed their approbation further con¬ 
vinces me that an attempt to make even a formulary interesting and, 
in a way, human is not a fault. _ 

SIGISMUND BLUM ANN, A.R.P.S. 

San Francisco, California 
March, 1928. 


PREFACE TO THIRD EDITION 

W HO could have predicated upon any previous experience in 
book-making or book-selling that this simple, unpretentious 
volume would meet with the continuous approval accorded it? 
Certainly not the Publisher and even more certainly not I, the author. 

After a quarter century of intensive pleasure in the dark-room 
and laboratory my Lab Book had grown large and bulky. Its contents 
represented the trial of thousands of formulae and the results of hun¬ 
dreds of experiments. The idea came that perhaps the photographers 
who still “Do their own” might welcome a book that should be small, 
but all meat. EHow it was welcomed is evident in that the first edition 
of three thousand was exhausted before we knew it. 

The second edition went and a third was back-ordered into the 
hundreds before the printer could keep up with the demand. With 
sincere modesty and an amused pride, withal, I watch the thousands 
go, drawing the inference that is very like the original intention, 
Just What You Want When You Want It is a good policy in making 
a book of this sort. 

It will be noted that each new appearance of the Workroom Hand¬ 
book is not merely a reissue but that a serious effort is made to en¬ 
large and improve it. 

If there is any gratitude coming to the public it is from an odd 
quirck in my temperament. I thank them less for buying my little 
book than for the privilege and high honor of being allowed to be so 
widely helpful. There is a wonderful kick in that. 

SIGISMUND BLUMANN, A.R.P.S. 

San Francisco, California 
July, H930 


PHOTOGRAPHIC 

WORKROOM HANDBOOK 

BY SIGISMUND BLUMANN 


MIXING SOLUTIONS 

Dissolve part of the Sulphite in the water, then the Developing agents, then 
the rest of the Sulphite, then the carbonate. 

Let the water be warm enough to produce prompt dissolving but no warmer 
than necessary. 

CONCENTRATED SOLUTION 

Never concentrate beyond 3 to 4 times normal or crystallization will result. 

HYPO 

May be melted in hot water but the bisulphites or acids should not be added 
till cool or sulphur precipitation results. 

PERCENTAGE SOLUTIONS, To Mix 

Dissolve chemical in part of the amount of water specified and make up to 
full measure, viz.: 5% solution Hypo. 

Dissolve 5 ounces Hypo in say 10 ounces of water and add water to make 
up to 100 ounces. 

Percentage solutions are taken to mean that part of the whole bulk which 
a given ingredient constitutes. 

EQUIVALENTS 

In this case, by Equivalents, is meant that one chemical may be substituted 
for the other in the ratio given. 

100 parts Caustic Soda equals 133 parts Caustic Potash 
100 parts Caustic Soda equals 167 parts Carbonate Potash 
100 parts Caustic Soda equals 176 parts Carbonate Sodium 
Sodium Bisulphite and Potassium Bisulphite equal 
Sodium Bromide and Potassium Bromide equal 
Alum Potassium 3 parts, or Alum Sulphate 2 parts 
Citric and Tartaric Acids equal 

LABELS 

Write your bottle labels with Water-proof India Ink. Paste them on and 
let them be thoroughly dry, then brush over them the thick Celluloid Solution 
given under head of Celluloid Negative Varnish. When set hard repeat. 
Two or three coats will make your labels virtually water and chemical proof 







2 


PHOTOGRAPHIC WORKROOM HANDBOOK 


DEVELOPMENT POINTERS 

Short development tends to softness. 

Long development tends to contrast. 

Alkali increases contrast. 

Bromide increases contrast. 

Concentration increases contrast. 

Dilution gives softness. 

Strong Pyro, Hydroquinon at 65° F or over give contrast. 

Metol, Glycin, dilute Pyro give softness. 

The above, where applicable, applies to Bromide Papers, always remember¬ 
ing that proper exposure is a governing factor. 

Hard negative, soft print; long exposure, short development. 

Soft negative, contrasty print; short exposure, long development. 
Remember in each instance that carbonate increases contrast, that Bromide 
not only increases contrast but averts fog. 

Metol gives soft effects and bluish blacks. 

Hydroquinon, harsh effects and greenish blacks. 

The following summary will apply, generally speaking, to Plates, Films, 
Bromide and Gaslight Papers. 


DEVELOPING FORMULA CHART 



“M. Q. • 
dev. for 
P. M. C. 
bromide 

“M. Q.” 
for EK 
Portrait 
bromide 

“M. Q ” 
for 

Regular 

CYKO 

Amidol 

for 

Wellington 

bromide 

Water. 

8 0Z. 

8 OZ. 

8 OZ. 

8 OZ. 

Metol. 

3 grs. 

6 grs. 

3 grs. 


Sodium Sulphite (dry).. 

40 grs. 

90 grs. 

85 grs. 

130 grs. 

Amidol. 

Hydrochinone. 

12 grs. 

22 grs. 

12 grs. 

20 grs. 

Sodium Carbonate (dry) 

55 grs. 

90 grs. 

65 grs. 


Potassium Bromide. 

1 Yl grs. 

3 grs. 

1 gr. 

4 grs. 


AMIDOL, Acid—Keeps Well for Few Days—Bromide Papers 


Water. 40 ounces 

Sodium Sulphite.. 6 ounces 

Citric Acid. 120 gr. 

Sulphate Iron. 1 ounce 

Potassium Bromide. 4 drams 


Use: Water 10 ounces, Stock 2iy 2 ounces, Amidol 30 gr. 
While this keeps—a fresh solution is better. 




























PHOTOGRAPHIC WORKROOM HANDBOOK 


3 


AMIDOL—Plates or Films 

Dissolve 3 ounces (anhydrous) Sulphite Sodium in 16 ounces hot water, add 
3 drachms Potassium Metabisulphite and boil in the solution and bottle. 

To 16 ounces of water add 3 ounces of the above stock solution and in this 
dissolve 35 grains of Amidol. 

This will be found an excellent developer for plates, films, papers, and 
lantern slides. The Amidol content may be lessened or increased by four or five 
grains for special effects. 


GLYCIN, Tank—25 Minutes—65°—Plates or Films 


Hot Water. 60 ounces 

Sodium Carbonate. 2 ounces 

Glycin. % ounce 

Sodium Sulfite. # ounce 


Use: Stock 6 ounces. Water 58 ounces. 


GLYCIN (Hub!)—Plates, Films, Papers 

Hot Water.40 c.c. 

Sodium Sulphite .„.25 g m. 

Glycine . 10 g m. 

When dissolved add slowly with constant stirring and a little at 
a time. 

Potassium Carbonate .50 g m. 

The mixture will effervesce and Carbon Dioxide be liberated and 
this must be taken in consideration in necessitating a large mixing 
vessel to take care of the conditions arising. 

The resulting compound will be a rather thick cream which will 
keep well even in partially filled containers. 

To use: Shake well till well mixed and dilute with 13 to 15 such 
quantity as you desire to use for normal negative exposures, for under¬ 
exposures dilute more, for over-exposures dilute less, also adding 
Potassium Bromide liberally, say 1 or 2 grains per c.c. Hubl states 
that in the case of under-exposure the addition of 2 to 5 grains of 
Sodium Hydroxide to 16 ounces of the dilution will reclaim what 
otherwise might be hopeless. For Gaslight papers dilute the taken 
quantity with 8 to 10 parts of water. For Bromide papers same as for 
negatives. 

GLYCIN-HYDROXIDE (Blumann)—Plates, Films, Papers 

We developed a formula which has excited so much contradictory opinion 
and so much positive praise and condemnation that we put it here for what it 
may do in emergencies. We have used plates, films and papers which were so 
fogged by age as to be worthless and have gotten workable negatives and 
prints with this developer. It regains life after being apparently used up by 
adding a little of the hydroxide solution, and it works clear and clean after it 
has oxidized to a treacly thickness and color. Use it with judgment in time of 
need or leave it alone. 










4 


PHOTOGRAPHIC WORKROOM HANDBOOK 


Water, boiling hot. 32 ounoee 

Sodium Sulphite (anhydrous). 75 grains 

Sodium or Potassium Hydroxide (C. P.). 240 grains 

Glycin. 60 grains 


Use full strength for strong contrast to fit for underexposure and remember 
it will stand up to five times its bulk of dilution. For overexposure add a ten 
percent solution of Bromide in five-drop doses till needed result is obtained. 
It will take an enormous amount of Bromide without fogging or degrading the 
tone. 

Just before using add a drop or two of Formaldehyde to the ounce to prevent 
disintegrating the emulsion. 

This has given the writer usable negatives from plates ten times over and five 
times under exposure. It works equally on plates, papers or films. 

Keep the temperature below 65° F. 

DEVELOPER—Extreme Contrast—Plates or Films 


A Water. 20 ounces 

Hydroquinon. 1 ounce 

Bisulph Soda. 1 ounce 

Bromide Potassium. 1 ounoe 

B Water. 20 ounces 

Potassium Hydroxide. 2 ounces 


Use “A” 1 ounce, “B” 1 ounce. Water 1 ounce. 

The more water the less contrast. 

For Process, Transparency and Lantern Plates dilute with 3 or 4 ounces 
water. 


UNIVERSAL PRINT DEVELOPER 


Metol. 10 grains 

Hydroquinon.. 40 grains 

Sodium Sulphite (crystal). 1 ounce or 

(anhyd). K ounce 

Sodium Carbonate (crystal). 1# ounce or 

(anhyd). oz. or less 

Potassium Bromide. 10 grains 

Water. 20 ounces 


The above are given by the Professional Photographers’ Association Record 
of Great Britain as the best “all ’round’’ developers. In testing they used the 
leading British and American Plates, Films, and Papers. The developers 
evolved were found to average best, not only on all negatives and positive 
emulsions, but on emulsions of all speed ratings, as well as on bromide and 
chloride papers. 

My own experience has beeen that the Bromide will need adjusting. 



















PHOTOGRAPHIC WORKROOM HANDBOOK 


UNIVERSAL PAPER—Bromides or Chlorides 

From “American Photography.” Tried under every condition by the writer 
and found perfect. 

A Metol. Ya, ounce 72 grains 

Sodium Sulphite. 6 ounces 53 grains 

Hydroquinon. 1 jounces 57 grains 

Water to. 100 ounces 


B Sodium Carbonate 
Water. 


1 ounce 
9 ounces 


C Potassium Bromide 
Water. 


Y ounce 
4Y ounces 


Use: 



A 

B 

C 

Velox. 

2 ounces 

12 Y drams 

20 min. 

Azo. 

2 ounces 

12 Y drams 

15 min. 

Iris. 

2 ounces 

6Y drams 

36 min. 

Prof. Cyko. 

2 ounces 

9 drams 

8 to 10 min. 

Haloid. 

2 ounces 

9 drams 

30 min. 

Prof. Defender. 

2 ounces 

9 drams 

45 min. 

Etching Brown. 

2 ounces 

4Y drams 

54 min. 

Old Master. 

2 ounces 

6Y drams 

27 min. 

Haloid Press. 

3 ounces 

2 oz. 6 drams 

25 min. 

Prof. Defender Warm. 

1 oz. 5dr. 

3 drams 

1 to 4 dr. 

Iris for soft effects.... 
and add water to make 10 ounces • 

QY ounces 3 drams 

33 min. 


(For Bromides use any of above diluted 2 to 3 times). 


UNIVERSAL NEGATIVE DEVELOPER 


Metol ....«.... 10 grains 

Hydroquinon . 40 grains 

Pyro . 10 grains 

Sodium Sulphite (crystal). 1Y2 ounce or 

(Anhyd.) . % ounce 

Sodium Carbonate (crystal).-. 1 ounce or 

(Anhyd.) . jounce or less 

Potassium Bromide . 5 grains 

Water . 20 ounces 

METOL—Soft Effects—Bromide Papers 

Water . 25 ounce 

Metol . 25 grains 

Sodium Sulphite . 100 grains 

Sodium Carbonate . 140 grains 

Potassium Bromide . 40 grains 

For stale paper souse with Bromide 10% solution. 

































6 


PHOTOGRAPHIC WORKROOM HANDBOOK 


DEVELOPER—M. Q. Concentrated—Plates, Films and Papers 

Metol. 90 grains 

Hydroquinon.350 grains 

Water (distilled). 143^ ounces 

Heat the water to 112 deg. F. and dissolve the Metol and Hydroquinon 
therein, then add 1200 grains Sodium Sulphite (anhydrous). Stir for two or 
three minutes. A gray-white precipitate will form. Now add pure stick 
Sodium Hydroxide, 220 grains, and stir until it has dissolved and the precipitate 
with it. Filter quickly through loose absorbent cotton and bottle. 

To use, take: 

Stock Solution .,.....1 part 

Water...15 parts 

Potassium Bromide...2 to 8 grains per 16 ounces 

Formaldehyde .1 drop to each ounce 

For tank: 20 minutes at 65° 

Stock Solution... 1 part 

Water..30 parts 


DEVELOPER—Great Contrast—Bromide and Gaslight Papers 


Water . 35 ounces 

Metol . TYz grains 

Sodium Sulphite (Anhydrous) . 1% ounces 

Hydroquinon.. 75 grains 

Sodium Carbonate (Anhydrous) . 1% ounces 

Potassium Bromide... 15 grains 

Keeps well and gives prints from negatives that are quite impossible other- 
wise. 

NEPERA SOLUTION—Bromides or Chlorides 

Hot Water... 100 ounces 

Metol.. jounce 

Hydroquinon. 2 ounces 

Sodium Sulphite. ounces 

Sodium Carbonate. 12>£ ounces 

Potassium Bromide. 120 grains 


Dilute according to brand of paper used or effect desired from 2 to 8. One 
of the best Gaslight Paper developers we know. 

PYRO DEVELOPER FOR PAPER 


Water.20 ounces 

Potassium Metabisulphite. 20 grains 

Sodium Sulphite. 1 ounce 

Pyro. 60 grains 

Sodium Carbonate. 1 ounce 

Potassium Bromide. 60 grains 


The B. J. Non-Staining Pyro Developer for plates works equally well on 
Bromide Papers. 






























PORTRAIT BY J. ANTHONY BILL 
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PORTRAIT BY J. ANTHONY BILL 

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PHOTOGRAPHIC WORKROOM HANDBOOK 


9 


PYRO-SODA—Plates and Films 
The Famous B. J. Non-Staining Formula 


A Water. 15 ounces 

Pyro. 120 grains 

Sodium Sulphite (anhydrous). 1 ounce 

Potassium Metabisulphite. 120 grains 

B Water. 15 ounces 

Sodium Carbonate (anhydrous). 1 ounce 1 drachm 


When ready to use take 1 part of each and add 2 parts of water. 

In making up the “A” solution mix the sulphite and the metabisulphite 
together dry, add to the water and boil the solution. 

For very strong negatives use 1 part of each and no water, or equal parts of 
“A,” “B,” and water. 

Bromide only if needed and in the least quantity that will clear up the 
shadows. 

PYRO, Good Quality and Fast for Negatives—Plates and Films 


A Water. 1 gallon 

Potassium Meta-Bisulphite. 200 grains 

Pyro. 4 ounces 

Bromide. X ounce 

B Water. 1 gallon 

Sodium Sulphite. 4 ounces 

Sodium Carbonate. 4 ounces 


Use “A” 4 ounces, “B” 4 ounces, Water 8 ounces. 

For fast exposures omit the water and use stock full strength. 

DEEP TANK DEVELOPER FORMULA (D-18) FOR KODAK 
AUTOGRAPHIC AND N-C FILM 


To Make 1 Gal. 10 Gals. 14 Gals. 18 Gals. 48 Gals. 

Water. X gal- 1 gal- 2 gals. 2X gals. 5 gals. 

Elon. 10 grs. 100 grs. 140 grs. 180 grs. IX ozs. 

Sodium Sulphite J. IX ozs. 12Xozs. 17X ozs. 22Xozs. 60 ozs. 

Sodium Bisulphite. 15 grs. 150 grs. Xoz. 270 grs. IX ozs. 

Hydrochinon. 40 grs. 1 oz. IX ozs. IX ozs. 4Xozs. 

Sodium Carb.300 grs. 6X ozs. 9Xozs. 12Xozs. 32X ozs. 

Pyro.100 grs. 2Xozs. 3Xozs. 4 ozs. 11 ozs. 

Potassium Bromide. 6 grs. 60 grs. 85 grs. 110 grs. 290 grs. 

Water to make. 1 gal. 10 gals. 14 gals. 18 gals. 48 gals. 


Develop about 15 minutes when new at a temperature of 65° Fahrenheit. 

NOTE—Film Pack film must be developed 33X% longer than roll film. 
Time of development should be increased about one minute per day. Keep to 
volume with same strength developer and discard when any perceptible stain 
shows between the exposures. Remove scum from surface and stir developer 
daily before using. 
























10 


PHOTOGRAPHIC WORKROOM HANDBOOK 


DEVELOPER FORMULA FOR EASTMAN PORTRAIT— 

Bromide 

Stock Solution (D-49) 


To Make 

32 ounces 

64 ounces 

1 gallon 


Avoirdupois Metric 



Hot Water (about 125°F.). 

16 ounces 

500 c.c. 

32 ounces 

64 ounces 

Elon. 

45 grains 

3 grams 

90 grains 

180 grains 

Sodium Sulphite. 

1 yi ounces 45 grams 

3 ounces 

6 ounces 

Hydroohinon. 

165 grains 

11 grams 

yi ounce 

1 y£ ozs. 

Sodium Carb. 

1 yi ounces 45 grams 

3 ounces 

6 ounces 

Potassium Bromide. 

30 grains 

2 grams 

60 grains 

120 grains 

Water to make. 

32 ounces 

1 liter 

64 ounces 

1 gallon 


For use, take Stock Solution, 1 part—Water, 1 part. 
Develop not less than 1 yi minutes at 70 F. (21 C.). 


PYRO-METOL—For Negatives and Bromides 

A Pyro. 80 grs. (9.2 gms.) 

Metol. 70 grs. (8 gms.) 

Potassium Metabisulphite.180 grs. (20 gms.) 

Potassium Bromide. 30 grs. (3.5 gms.) 

Water to.. 20 ozs. (1,000 c.c.s.) 

B Soda Carbonate. 11% ozs. (75 gms. 

Water to.. 2'0 ozs. (1,000 c.c.s.) 

For normal exposures, use equal parts. For under-exposures, increase the 
proportion of B and add water. 

Pyro-metol is a developer which gives both detail and density quickly. The 
negatives are of slightly greenish-black color, of good printing quality. 

DEVELOPER 


FOR BLUE BLACK TONES ON AZO PAPER 
FOR PHOTO FINISHING AND COMMERCIAL PURPOSES 
D-73 


To make Stock Solution 

32 ozs. 

1 liter 

1 gal. 

5 gals. 


Avoirdupois 

Metric 


Water (about 125°F.) (52°C.). 

. 16 ozs. 

500 c.c. 

64 ozs. 

2 yZ gals. 

Elon. 

. 40 grns. 

2.7 grins. 

160 grns. 

1 yi ozs. 

Sodium Sulphite (E.K.Co.)... 

1 oz. ) 

40 grms. 

5Xozs. lib. 10ozs. 


140 gms.) 




Hydrochinon. 

. 155 grns. 

10.6 grms. 

1 oz. > 
185 grns.) 

7 ozs. 

Sodium Carbonate (E.K.Co.).. 

. 2}4 ozs. 

75 grms. 

10 ozs. 3 lbs. 2 ozs. 

Potassium Bromide. 

. 12 grns. 

0.8 grms. 

48 gms. 

240 gms. 

Water to make. 

. 32 ozs. 

1 liter 

1 gal. 

5 gals. 


For use, take Stock Solution 1 part, Water 2 parts. 
Develop for 45 seconds at 70°F. (21°C.). 



















PHOTOGRAPHIC WORKROOM HANDBOOK 


11 


DEVELOPER 

For producing three degrees of contrast suitable for VITAVA ATHENA, 
Grades A, B, C, D, E and T 

D. 64 


To make Stock Solution No. 1 

32 ozs. 

1 liter 64 ozs. 

1 gal. 

Water (about 125°F.) (52°C.).. 

Avoirdupois 
. 16 ozs. 

Metric 

500 c.c. 32 ozs. 

64 ozs. 

Elon. 

. 135 gms. 

9 grms. 270 gras. 

1K ozs. 

Sodium Sulphite (E.K.Co.)... 

. 2Kozs. 

65 grms. 4K ozs. 

9 ozs. 

Hydrochinon. 

. 150 gras. 

10 grms. K oz. 

IK ozs. 

Sodium Carbonate (E.K.Co.).. 

. IK ozs. 

50 grms. 3K ozs. 

7 ozs. 

Potassium Bromide. 

. 70 gras. 

4.5 grms. 140 gras. 

280 gms. 

Wood Alcohol. 

. 3 ozs. 

90 c.c. 6 ozs. 

12 ozs. 

Water to make. 

. 32 ozs. 

1 liter 64 ozs. 

128 ozs. 

Stock Solution No. 2 

Water (about 125°F.) (52°C.).. 

. 16 ozs. 

500 c.c. 32 ozs. 

64 ozs. 

Sodium Sulphite (E.K.Co.)_ 

. 2Kozs. 

65 grms. 4K ozs. 

9 ozs. 

Hydrochinon. 

. 1K ozs. 

35 grms. 2 K ozs. 

5 ozs 

Sodium Carbonate (E.K.Co.) . 

. IK ozs. 

50 grms. 3Kozs. 

7 ozs. 

Potassium Bromide. 

70 gms. 

4.5 grms. 140 gras. 

280 gras. 

Wood Alcohol. 

. 3 ozs. 

90 c.c. 6 ozs. 

12 ozs. 

Water to make. 

. 32 ozs. 

1 liter 64 ozs. 

128 ozs. 


For use, dilute as follows: 

A—Soft (for prints from contrast negatives): 

Stock Solution No. 1. 6 ounces (180 c.c.) 

Water.26 ounces (800 c.c.) 

B —Medium (for prints from average negatives): 

Stock Solution No. 1. 3 ounces ( 90 c.c.) 

Stock Solution No. 2. 3 ounces ( 90 c.c.) 

Water. 26 ounces (800 c.c.) 

C —Hard (for prints from soft or flat negatives): 

Stock Solution No. 1. 3 ounces ( 90 c.c.) 

Stock Solution No. 2. 6 ounces (180 c.c.) 

Water.23 ounces (700 c.c.) 

% 

To each 32 ounces (1 liter) of developer ready to use, add 1 dram (3.5 c.c.) 
of 10% Potassium Bromide solution. Temperature of developer—70° Fahren¬ 
heit (21° C.). 




















12 


PHOTOGRAPHIC WORKROOM HANDBOOK 


DEVELOPER 

For VITAVA ATHENA, Grades A, B, C, D, E, and T.; VITAVA ALBA, VI- 
TAVA RAPID BLACK and VITAVA ZELTA 
D-62 


To Make Stock Solution 

32 ozs. 
Avoirdupois 

1 liter 
Metric 

1 gal. 

5 gals. 

Water (about 125°F.) (52°C.).. 

. 16 ozs. 

500 c.c. 

64 ozs. 

2 Y gals. 

Elon. 

. 22 grns. 

1.5grms. 

88 grns. 

1 oz. 

Sodium Sulphite (E.K.Co.)... 

. Koz. 

22.5grms. 

3 ozs. 

15 ozs. 

Hydrochinon. 

. 90 grns. 

6.2 grms. 

360 grns. 

4 ozs. 

Sodium Carbonate (E.K.Co.).. 

. Y oz. 

15 grms. 

2 ozs. 

10 ozs. 

Water to make. 

32 ozs. 

1 liter 

1 gal. 

5 gals. 


For use, dilute as follows: 

VITAVA ATHENA—Grades A, B, C, D, E, T: Stock solution 1 part, water 
1 part. To each 32 ounces (1 liter) of this developer add Y* ounce (7.5 c.c.) of 
10% Potassium Bromide solution. 

VITAVA ALBA—Full strength stock solution. To each 32 ounces (1 liter) 
of developer add 1 dram (3.5 c.c.) of 10% Potassium Bromide solution. 

VITAVA RAPID BLACK—Full strength stock solution. To each 32 ounces 
(1 liter) of developer add Y ounce (15 c.c.) of 10% Potassium Bromide solu¬ 
tion. 

VITAVA ZELTA—Stock solution 1 part, water 1 part. To each 32 ounces 
(1 liter) of this developer add Y ounce (15 c.c.) of 10% Potassium Bromide 
solution. 

Develop not less than 1 Y minutes at 70°F. (21° C.). 


DEVELOPER 
For VITAVA RAPID BLACK 
D-52b 


To Make Stock Solution 

32 ozs. 

1 liter 

1 gal. 

5 gals. 


Avoirdupois 

Metric 



Water (about 125°F. (52°C.). 

.. 16 ozs. 

500 c.c. 

64 ozs. 

2 Y gals. 

Elon. 


3 grms. 

180 grns. 

2 ozs. 

Sodium Sulphite (E.K.Co.).. 

.. 1 Y ozs. 

45 grms. 

6 ozs. 1 lb. 14 ozs. 

Hydrochinon. 


12.5grms. 

loz. ) 





280 grns.) 

8Y ozs. 

Sodium Carbonate (E.K.Co.). 

1 oz. 

30 grms. 

4 ozs. 1 lb. 4 ozs. 

Potassium Bromide.. 


3 grms. 

180 grns. 

2 ozs. 

Water to make. 


1 liter 

1 gal. 

5 gals. 


For use, take Stock Solution 1 part, Water 1 part. 

Develop not less than 1 Y minutes at 70°F. (21°C.). 

j 

Vitava papers should have rather full exposures and adequate development. 
The vigor of the image is inherent to the paper and needs no stimulus. 









PHOTOGRAPHIC WORKROOM HANDBOOK 


13 


DEVELOPER 

For VITAVA ETCHING BROWN, ATHENA OLD MASTER, ATHENA 
LINEN FINISH and ATHENA GRADE F. 

D-65-a 

To Make Stock Solution 

Water (about 125°F.) (52°C.).. 

Elon. 

Sodium Sulphite (E.K.Co.). 

Hydrochinon. 

Sodium Carbonate (E.K.Co 

Potassium Bromide. 

Wood Alcohol. 

Water to make. 

For use, dilute as follows: Stock Solution 1 part; Water 7 parts. 


32 ozs. 

1 liter 

1 gal. 

6 gals. 

Avoirdupois 

Metric 



24 ozs. 

750 c.c. 

96 ozs. 

&Y gals. 

, 100 grns. 

6.9 grms. 

400 grns. 

4 yi ozs. 

3 yi ozs. 

98 grms. 

13 ozs. 

4 lbs. 

. Hoz. 

22.5 grms. 

3 ozs. 

15 ozs. 

. 2><ozs. 

67.5 grms, 

. 9 ozs. 2 lbs. 13 ozs. 

, 50 grns. 

3.4 grms. 

200 grns.2oz.l30grns 

, 4 yi ozs. 

140 c.c. 

18 ozs. 

90 ozs. 

. 32 ozs. 

1 liter 

1 gal. 

5 gals. 


VITAVA ETCHING BROWN—To each 32 ounces (1 liter) of this developer 
add two drams (7.5 c.c.) of 10% Potassium Bromide solution. For warmer 
tones, to each 32 ounces (1 liter) of this developer add yi to Y dram (2 to 3 
c.c.) of 10% Hydrochloric acid solution, made by diluting 1 part c. p. Hydro¬ 
chloric acid (Sp. Gr. 1.2) with 9 parts of water. 

VITAVA ATHENA OLD MASTER, LINEN FINISH and Grade F—To each 
32 ounces (1 liter) of this developer add 1 dram (3.5 c.c.) of 10% Potassium 
Bromide solution. If colder tones are required with the Grade F paper slightly 
increase the quantity of Sodium Carbonate. 

Develop not less than 1 yi minutes at 70°F. (21°C.). 


DEVELOPER 

FOR PORTRAIT PRINTS ON AZO PAPER 
D-41 


To make Stock Solution 

32 ozs. 
Avoirdupois 

1 liter 
Metric 

64 ozs. 

1 gal. 

Water (about 125°F.) (52°C.). 

. 24 ozs. 

750 c.c. 

48 ozs. 

100 ozs. 

Elon. 

. 100 grns. 

6.8 grms. 

200 grns. 

400 grns 

Sodium Sulphite (E.K.Co.)... 

. 3 yi ozs. 

97 grms. 

6 yi ozs. 

13 ozs. 

Hydrochinon. 

Y oz. 

22.5 grms. 

1 yi ozs. 

3 ozs. 

Sodium Carbonate (E.K.Co.).. 

. 2>£ozs. 

75 grms. 

5 ozs. 

10 ozs. 

Potassium Bromide. 

. 55 grns. 

3.8 grms. 

V* oz. 

Y oz. 

Water to make. 

. 32 ozs. 

1 liter 

64 ozs. 

1 gal. 

Wood Alcohol. 

. 4>£ozs. 

140 c.c. 

9 ozs. 

18 ozs. 


For use, take Stock Solution 1 part, Water 7 parts. 
Develop about 1 yi minutes at 70°F. (21°C.). 


Note—Rough surface grades in the Argo, Noko brands should be accepted 
as rather softer than the others. 













14 


PHOTOGRAPHIC WORKROOM HANDBOOK 


DEVELOPER 

FOR VELOX, AZO, EASTMAN AND P. M. C. BROMIDE PAPERS 

D-72 


To make Stock Solution 

32 ozs. 

1 liter 1 gal. 

5 gals. 


Avoirdupois 

Metric 


Water (about 125°F.) (52°C.). 

. 16 ozs. 

500 c.c. 64 ozs. 

2# gals 

Elon. 

. 45 gms. 

3 grms. 180 grns. 

2 ozs. 

Sodium Sulphite (E.K.Co.).... 

. 1K ozs* 

45 grms. 6 ozs. 1 lb. 14 ozs. 

Hydrochinon. 

. 175 grns. 

12 grms. 1 oz. j 

1 



260 grns. J 

i 8 ozs. 

Sodium Carbonate (E.K.Co.).. 

. 2 yi ozs. 

65 grms. 9 ozs. 2 lbs. 13 ozs 

Potassium Bromide. 

. 27 grns. 

1.8 grms. yioz. 

lyi ozs. 

Water to make. 

. 32 ozs. 

1 liter 1 gal. 

5 gals. 

For use, dilute as follows: 


Velox Azo 

Bromide 

Stock Solution. 


1 part 1 part 

1 part 

Water. 


1 part 2 parts 

4 parts 


Develop Velox and Azo 45 seconds at 70° F. (21° C.). 

For colder tones on Azo,dilute as for Velox. 

For still colder tones on Azo, use Formula D-73. See page 10. 
For Portrait work on Azo, use Formula D-41. See page 13. 
Develop Bromide not less than 1minutes at 70°F.(21°C.). 

For Portrait Bromide, use Formula D-49. See page 10. 

PYRO. Tank—30 Minutes—65°—Plates or Films 


A Water. 16 ounces 

Pyro. 1 ounce 

Oxalic Acid..*. 10 grains 

B Water. 16 ounces 

Sulphite. 3 ounces 

C Water. 16 ounces 

Carbonate. 1 ounce 


Use: A, B, C, each 1 ounce. Water 61 ounces. 

To increase density increase carbonate. To increase speed to 20 minutes use 
only 40 ounces water; for 10 minutes use only 25 ounces water. 

Deduct 1 minute for each degree of temperature above 65°. Add 1 minute 
for every degree below. 

PYRO, Tank—20 Minutes—65°—Plates or Films 


Water..... 64 ounces 

Pyro. 30 grains 

Sodium Sulphite. 115 grains 

Sodium Carbonate. 75 grains 

Hydroquinon. 8 grains 




















PHOTOGRAPHIC WORKROOM HANDBOOK 


16 


PYRO-METOL, Tank—Keeps Well—Plates or Films 


A Water (hot). 2 quarts 

Sodium Sulphite (Anhyd.). 6*4 ounces 

When dissolved add: 

Sodium Bisulphite. 3 ounces 

Boil 5 minutes and cool, then add: 

Pyro. 2 ounces 

Metol. 100 grains 

B Sodium Carbonate (Andhyd.). 2% ounces 

Potassium Iodide.:. 10 grains 

(Or Bromide 10 grains) 

Water. 16 ounces 

Add “B” to “A” Amber Solution results. 


For Tank dilute with from 5 to 8 times. This will give a 20 minute de¬ 
velopment at 65°. 

Panchromatic Developing’, Desensitizers, etc 

Any standard formula will give equally good results on ordinary (Color 
Blind) or Panchromatic emulsions. It will be imperative, however, to either 
work in darkness or the virtual darkness of the Panchro-Green Safelight 
or use Pinacryptol Green as a desensitizer. The desensitizer named may be 
used in the developer or as a preliminary bath. A 1 in 5000 solution is gen¬ 
erally made for a one to two minute immersion before development. If it is 
to be added to the developer make a 1 in 500 solution and add in the pro¬ 
portion of from 4 to 10 drops to the ounce of developer. After a minute or 
two the red or better the green light may be turned on with safety and if 
the green be used it need not be dense. What is said of Panchro emulsions 
holds true of any negative material. 

BROWN TONES IN DEVELOPMENT 

Gaslight and Bromide Papers 


Water. 35 ounces 

Sodium Sulphite. 3 ounces 

Sodium Carbonate. 5 ounces 

Glycin. 420 grains 

Hydroquinon.134 grains 

Potassium Bromide. 62 grains 


For Rich Dark Browns take 1 part of the above to 7 of water. 

For Neutral Art Gravure effect use 1 part to 15 of water. 

This developer requires no over-exposure. Those developers which call 
for excessive exposures and prolonged development not only block up the 
shadows but give prints of doubtful durability. 

It has been suggested that 3 ounces 300 grains of Potassium Carbonate 
substituted for the Sodium Carbonate, and the addition of 4 ounces of Gly¬ 
cerine makes better tones and greater efficiency. Our experience with the 
original formula was wholly satisfactory. Experiment for the best exposure 
suited to this developer on each brand of paper used. 
















16 


PHOTOGRAPHIC WORKROOM HANDBOOK 


THREE-SOLUTION PYRO FORMULA 

Agfa-Ansco Formulae Agfa Portrait Films 

Sodium and Potassium salts are in every case intended to be 
anhydrous. 

This is made up in three separate solutions for stock, to be com¬ 
bined for use as required,, according to the directions under the form¬ 
ula. Always dissolve chemicals in order given. 

SOLUTION 1 

Water. 16 oz. 

Sodium Bisulphite or 

Potassium Metabisulphite . 70 grains 

Pyro. 1 oz. 

Potassium Bromide. 8 grains 

SOLUTION 2 

Water . 16 oz. 

Sodium Sulphite (anhydrous). 1% oz. 

SOLUTION 3 

Water . 16 oz. 

Sodium Carbonate (monohydrated)..!^ oz. 

Tank Development _ 

For one-gallon tank, take 9 ounces each of Solutions 1, 2, and 3, and 
add water to make one gallon. 

For 3^-gallon tank, take 32 ounces each of Solutions 1, 2, and 3, 
and add water to make 3% gallons. 

Develop about 12 minutes at 65° Fahrenheit. 

Tray Development 

For tray development take 1 part each Solutions 1, 2, and 3, and 
add 7 parts water. Normal development time : 8 minutes at 65° 
Fahrenheit. 

THREE-SOLUTION METOL-PYRO FORMULA 

Sodium and Potassium salts are in every case intended to be 


anhydrous. 

SOLUTION 1 

Water . 32 oz. 

Sodium Bisulphite . % oz. 

Metol .. ii oz. 

Pyro . 1 oz. 

Potassium Bromide . 60 grains 

SOLUTION 2 

Water . 32 oz. 

Sodium Sulphite (anhydrous) . 5 oz. 

SOLUTION 3 

Water . 32 oz. 

Sodium Carbonate (monohydrated) . 2% oz. 


32 oz. 

140 grains 
2 oz. 

16 grains 


32 oz. 
3 y 2 oz. 


32 oz. 
3 oz. 



















PHOTOGRAPHIC WORKROOM HANDBOOK 


17 


Tank Development 

For one-gallon tank, take 8 ounces each Solutions 1, 2, and 3, and 
add water to make one gallon. Development time, 9 to 12 minutes at 
65° Fahrenheit. Renewing from time to time by additions in the pro¬ 
portion of 1 ounce each of Solutions 1, 2, and 3 to 4 ounces of water 
will maintain the volume and energy for several weeks. Keep solu¬ 
tion covered with floating lid when not in use to prevent oxidation. 

Tray Development 

Use in the proportion of 1 ounce each of Solutions 1, 2, and 3 to 
8 ounces of water. Normal development time, about 8 minutes at 
65° Fahrenheit. 


METOL-HYDROKINONE TANK FORMULA 

Sodium and Potassium salts are in every case intended to be 
anhydrous. 

Much liked by some, who prefer its blue-black tone. Gives excellent 
printing quality and has better keeping qualities than pyro develop¬ 
ers, but must be kept up to strength to secure standard results. 
Dissolve chemicals in order given. 

Water (luke warm) . 1 gal. 

Metol .170 grains 

Sodium Sulphite (anhydrous) . 12 oz. 

Sodium Bisulphite . % oz. 

Hydrokinone . % oz. 

Sodium Carbonate (monohydrated) .1% oz. 

Potassium Bromide . 95 grains 

Add cold water to make . 4 gal. 

Normal development time, 10 to 14 minutes at 65° Fahrenheit. 

Agfa Positive Film Developer for Normal Results 

Water. 16 ounces 

Metol . 14 grains 

Hydrokinone .-. 28 grains 

Sodium Sulphite .175 grains 

Sodium Carbonate .200 grains 

Potassium, Bromide . 14 grains 

Develop from 3 to 4 minutes at 65° Fahrenheit. 

Agfa Positive Film Developer for Strong Contrast, as in Titles 
Where the roll is exclusively of titles, line drawings, and other sub¬ 
jects in which extra-strong contrast is desired, the following formula 
may be used: 

Water . 16 ounces 

Metol .-.3% grains 

Hydrokinone .-. 35 grains 

Sodium Sulphite . 140 grains 

Potassium Carbonate. 200 grains 

Potassium Bromide . 14 grains 

Develop from 3 to 4 minutes at 65° Fahrenheit. 

ANSCO PROFESSIONAL PAPERS 


Sodium and Potassium salts are in every case intended to be 


anhydrous. 

Water .40 oz. 

Metol .15 gr. 

Sodium Sulphite .-. V 2 oz. 

Hydrokinone .60 gr. 

Sodium Carbonate . V 2 oz. 

Potassium Bromide .-.26 gr. 




























18 


PHOTOGRAPHIC WORKROOM HANDBOOK 


NOKO PAPER 

Sodium and Potassium salts are in every case intended to be 


anhydrous. 

Olive-Black Tone 

Water . 64 oz. 

Metol . 21 grains 

Sodium Sulphite .340 grains 

Hydrokinone ...100 grains 

Sodium Carbonate ..'.290 grains 

Potassium Bromide . 70 grains 

Normal development time, 1 minute at 70° Fahrenheit. 

Medium Warm Black Tones 

Water ... 64 oz. 

Metol . 21 grains 

Sodium Sulphite .....350 grains 

Hydrokinone . 95 grains 

Sodium Carbonate .385 grains 

Potassium Bromide . 40 grains 

Normal development time, 1 minute at 70° Fahrenheit. 

Medium Cold Tones 

For Photo Finishers 

Water... 64 oz. 

Metol . 28 grains 

Sodium Sulphite . 1 oz. 

Hydrokinone ..100 grains 

Sodium Carbonate .;. VA oz. 

Potassium Bromide . 10 grains 

Normal development time, 1 minute at 70° Fahrenheit. 

For Cold Blue-Black Tones 

Water. 64 oz. 

Metol . 34 grains 

Sodium Sulphite.1^4 oz. 

Hydrokinone .110 grains 

Sodium Carbonate .1% oz. 

Potassium Bromide . 12 grains 


Normal development time, 1 minute at 70° Fahrenheit. 


Agfa-Ansco Special Chemicals 

The pinacryptols, yellow and green, which are so well known as 
desensitizers, Neo Coccine red dye for holding back thin parts of a 
negative, Intensifies and Reducers of various sorts, color plate re¬ 
versal compounds, and other of this firm’s specialties may best be 
studied from the literature issued and distributed gratis by the manu¬ 
facturer. In fact this book only contains a number of essential formu¬ 
lae and such as may be used throughout a day’s run in an establish¬ 
ment using a variety of products made by different makers. Where a 
formula serves only for one make of plate, film, or paper it has been 
ommitted and to such we prefer to leave the reader to trade circulars 
and instruction sheets. In recent months Agfa-Ansco have put on the 
market a brown-toner which has the trade name of Flemish Gold 
Toner which can be recommended and which is said to work especially 
well on one of their papers labelled India Tone, the title referring to 
the base stock. 


























PHOTOGRAPHIC WORKROOM HANDBOOK 


19 


RODINOL—Plates, Films and Papers 

Rodinol is a trade name and the developer sold under its patent is splendid. 
The alkali used in compounding it is Lithium Hydroxide, which is very dear 
and almost unobtainable in most places. The following formula will, however, 
give a solution which keeps well, acts similarly and may be used just like 
Rodinol. 

Distilled Water (warm).325 ccm. or 11 ounces 

Potassium Metabisulphite.5.8 grams or 90 grains 

When completely dissolved add: 

Paramidophenol-hydrochloride 25 grams or 385 grains 
Potassium Metabisulphite.7.8 grams or 120 grains 

When completely dissolved add the following solution slowly until the pre¬ 
cipitate forms and re-dissolves. 

Sodium Hydroxide .100 grams or SV 2 ounces 

Water.250 ccm. or 8% ounces 

Then add water to make 1000 ccm. or 32 ounces. 

Bottle in small containers and cork and seal. 

To use: Take 1 part of the stock solution to from 10 to 40 parts of water. 
Plates and Films require the stronger mixture. 

Beware of adding more of the Hydroxide than is required to re-dissolve the 
precipitate. 


SHORT STOP FORMULA SB-1 

Avoirdupois Metric 

Water. 32 ozs. 1 liter 

Acetic Acid (28%). ozs. 45 c.c. 

The use of an acid short stop between developing and fixing is advisable. 
We strongly recommend rinsing prints in a solution made according to the 
above formula, as its action instantly checks development and prevents uneven 
spots and streaks when prints are immersed in the fixing solution. 

Use a fresh bath for each batch of prints, as the acid will become neutralized 
by the alkali from the developer. This formula is sufficient for approximately 
sixty 4x6 prints. 


HAND STAIN REMOVER FORMULA S-5 


Solution A— 

Avoirdupois 

Metric 

Potassium Permanganate. 


7.5 grms. 

Water. 

Solution B— 


1 liter 

Sodium Bisulphite. 


450 grms. 

Water. 


1 liter 


To use: Rub hands with a small amount of Solution A, rinse promptly in 
water and then with solution B, which will remove the stains. Then wash 
hands well under the tap. 













20 


PHOTOGRAPHIC WORKROOM HANDBOOK 


FIXING 

The simplest fixing bath is composed of 4 ounces of Hypo to 16 ounces of 
water; one in four. For Bromide Papers one in five or six is plenty strong. 

Do not be deceived into thinking this bath retains the values you see on the 
negative or positive as it leaves the developer. Its action is one of slight in¬ 
tensification and warmer tones. 

The addition of Sulphite (2 to 4 ozs.) tends to softness and neutral tones. 

The addition of Sodium Chloride (6 to 8 ounces) increases softness and 
tends to blueness. 

Iodide of Potassium (60 to 120 grains), softer results and warmer tones. 

Nitrate of Silver X ounce, and salt yi ounce added separately, salt first, 
intense contrast and blue tones. 

Nitrate of Silver yi ounce, Potassium Iodide % ounce added separately, 
Iodide first, most contrast, warm tone. 

Alum and Acetic Acid, usual formula Purplish. 

DEDUCTION 

The combination of Plain Hypo with the Eastman Hardener (F14A) com¬ 
posed of Sulphite, Alum and Acetic Acid, averages best results as to efficiency, 
tone, and color. It hardens the emulsion. 

FIXERS 

Water. 64 ounces 

Epsom Salts. 4 ounces 

Hypo. 20 ounces 

For plates—full strength. For paper—1 part to 3 of water. 

HYPO PLAIN 

Most formulae read 1:4 but 1:6 or 1:8 is strong enough for Bromide Papers. 

ACID HARDENER 

First dissolve Alum in warm water, then add acid and immediately there¬ 
after the sulphite or the Alum will crystallize. 

Chrome Alum Hypo to make 2 gallons: 


A Hypo. 4 pounds 

Water. 160 ounces 

Sulphite Soda. 4 ounces 

Water. 32 ounces 

B Chrome Alum. 4 ounces 

In Water. 56 ounces 

Sulphuric Acid. K ounce 

In Water. 8 ounces 


Add “B” to “A” slowly while stirring. 

I want to go on record as favoring a plain Hypo bath with after treatment 
for hardening, if quality and values are sought. 













PHOTOGRAPHIC WORKROOM HANDBOOK 


21 


CHROME ALUM RINSE BATH FOR ROLL FILM 
Formula SB-2 

To Make 1 Gal. 10 Gala. 14 Gals. 24 Gala. 29 Gals. 42 Gals. 48 Gals. 

Water.64 oza. 6 gala. 7 gala. 12 gals. 16 gala. 20 gala. 24 gala. 

Potassium Chrome Alum 

Pure. 2 ozs. IX lbs. 1% lbs. 3 lbs. 3M lbs. 6^ lbs. 6 lbs. 

Acetio Acid 28 %. 3 ozs. 30 ozs. 42 ozs. 72 oza. 87 ozs. 1 gal. lgal.l6oz. 

Water to make. 1 gal. 10 gals. 14 gals. 24 gals. 29 gals. 42 gals. 48 gals. 

The chrome alum rinse bath may be used instead of plain water. Films may 
be transferred directly from the developer, and should remain in the bath for 
three to five minutes, then be immersed directly in the fixing bath. 

It is important, however, that the films be agitated when they are first 
placed in the rinse bath or blistering may occur. Also in very warm weather, 
especially where it is difficult to control the temperature, it is sometimes neces« 
sary to reduce the acid content to one-half of that given in the above formula 
or to rinse the films in water before placing them in the Chrome Alum Rinse 
Bath in order to avoid blistering. These are more apt to occur when an old, 
weak, and exhausted developer is used. 

The rinse bath should be tested from time to time with litmus paper and 
kept in an acid condition by the addition of a few ounces 28% Acetic Acid 
once or twice a week, the amount to be added depending on the number of 
rolls developed. 

FIXERS 

CHROME ALUM 


A Hypo. pounds 

In Water. 140 ounces 

Sodium Sulphite. ounces 

In Water. 28 ounces 

B Chrome Alum. ounces 

In Water. 42 ounces 

Sulphuric Acid. ounce 

In Water. 14 ounces 


Add “B” to “A” slowly while stirring. 

FIXING BATH—RAPID 


Hypo. 4 ounces 

Ammonium Chloride. 1 ounces 

Water. 20 ounces 


This fixes in about half the time and washes out in about two-thirds the time 
of the usual fixing baths. 

TEST FOR HYPO BATH 

Any old, undeveloped film or plate, however spoiled, when cut into strips, 
may be used to test the fixing bath for exhaustion. After fixing a number of 
prints and when in doubt, drop a strip into the hypo. If complete clearing 
takes longer than ten minutes, discard the Hypo solution as exhausted. 

Do not economize on Hypo. It is cheaper than the cost of spoiled material.. 
Old Hypo is not only useless—it is bad. 

















22 


PHOTOGRAPHIC WORKROOM HANDBOOK 


FIXING BATH FOR VITAVA, VELOX, AZO AND BROMIDE 

PAPERS 

Water. 64 ounces 

Hypo. 16 ounces 

When thoroughly dissolved, add the entire amount to the following hard¬ 
ening solution: 

Water..5 ounces 

Sodium Sulphite. 1 ounce 

Acetic Acid (28% pure). 3 ounces 

Powdered Potassium Alum. 1 ounce 

It is a great convenience to have a stock solution of this hardener on hand. 
It keeps well in a corked container and is always ready for use. 

A fixing bath is quickly made by adding one part of this hardener to eight 
parts of hypo solution. 

STOCK HARDENER 


Dissolve in order named: 

Water (about 100° F.). 56 ounces 

Sodium Sulphite. 16 ounces 

Acetic Acid (28% pure). 48 ounces 

Powdered Potassium Alum. 16 ounces 

Cold Water to make. 1 gallon 


Thoroughly dissolve the sulphite before adding the acid. Stir the solution 
until chemicals are well mixed. Continue stirring while adding the alum. 
When this chemical is entirely dissolved, add cold water to the solution to make 
up the final volume. 

One gallon of fixing solution prepared as described, will fix approximately 
four gross 4x6 prints, or their equivalent in other sizes. 


DEEP TANK FIXING BATH AND HARDENER FOR ROLL 





FILM 




To make 

10 Gals. 

14 Gals. 

24 Gals. 

29 Gals. 

42 Gals. 

48 Gals. 

Water 

6 gals. 

8 gals. 

15 gals. 

15 gals. 

30 gals. 

30 gals. 

Hypo 

20 lbs. 

28 lbs. 

48 lbs. 

58 lbs. 

84 lbs. 

96 lbs. 

Thoroughly 

dissolve 

the hypo, 

then add the following quantity of Stc 

Solution Hardener. 






Hardener 

1 gal. 

1# gals. 

2 A gals. 

3 gals. 

4 gals. 

5 gals. 

Add water 






to make 

10 gals. 

14 gals. 

24 gals. 

29 gals. 

42 gals. 

48 gals. 


N. C. FILM HARDENER 


To Make 

1 Gal. 

2 Gals. 

5 Gals. 

10 Gals. 

Water. 

40 ozs. 

80 ozs. 

1# gal. 

3 gals. 

Sodium Sulphite (E.K.Co.). 

10# ozs. 

21 ozs. 

3# lbs. 

6# lbs. 

Acetic Acid 28% Pure (E.K.Co.)... 

64 ozs. 

1 gal. 

2# gals. 

5 gals. 

Potassium Alum, Powdered. 

21 ozs. 

42 ozs. 

6# lbs. 

13 lbs. 

Water to Make. 

1 gal. 

2 gals. 

5 gals. 

10 gals. 
















PHOTOGRAPHIC WORKROOM HANDBOOK 


23 


To make up the solution, dissolve the chemicals in the order given, using 
water at about 100 degrees Fahrenheit, and being sure that the Sodium Sul¬ 
phite has completely dissolved before adding the Acetic Acid. After the 
Sulphite-Acid solution has been thoroughly mixed, add the Potassium Alum. 
When this has dissolved, make up to the final volume with cold water. 

A SUPPLEMENTARY HARDENER 

F-20 

Recommended for Bromide papers when necessary to overcome the tendency 
to stick to the belts of heated belt dryers. 


Solution A 

Avoirdupois 

Metric 

Water (about 125°F.) (52°C.).. 


1 liter 

Sodium Sulphite (E. K. Co.)... 

.... 1# ozs. 

45 grms. 

•Acetic Acid 28% (E. K. Co.).. 

. 2 ozs. 

64 c.c. 

Powdered Potassium Alum. . .. 


135 grms. 

Water to make. 


2 liters 


•To make 28% Acetic Acid from Glacial Acetic Acid, dilute three parts 
Glacial with eight parts of water. 

Solution B: 


Hot Water (about 160°F.) (71°C.).. 

16 ozs. 

500 c.c. 

Borax (E. K. Co.). 

1 oz. 

30 grms. 

When dissolved add: 

Cold Water to make. 

64 ozs. 

2 liters 


Then cool and add slowly to Solution A with constant stirring. 

If these directions are followed a clear solution will be obtained, but if the 
borax solution, while still warm, is added to Solution A, a white precipitate 
will form which does not re-dissolve. 

Fix prints in the regular fixing bath, rinse thoroughly and place in the above 
hardener for 5 to 10 minutes. 

Wash thoroughly and remove surplus water before drying. 


HYPO TEST FORMULA HE-1 

To make Stock Solution Avoirdupois 

Potassium Permanganate. 4 grns. 

Sodium Hydroxide (Caustic Soda).. 8 grns. 

Water (distilled) to make. 8 ozs. 


Metric 
0.3 grms. 
0.6 grms. 
270 c.c. 


To use take five ounces clear water in a clean glass or graduate and add one 
dram of the above, then add a small volume of the wash water. If a small per¬ 
centage of hypo is present, the violet solution will turn green and with larger 
concentrations of hypo, the green color will turn deep yellow. 

In the preservation of negatives and prints proper fixation is essential. Hypo 
does that, but when left in the emulsion it goes right on working overtime and 
ruins. It fixes, good and plenty. 










24 


PHOTOGRAPHIC WORKROOM HANDBOOK 


LOCAL REDUCING 

This adjunct to retouching has been much discussed. If chemical reduction 
be meant my advice is to leave it alone, but there is much to be said in favor 
of abrasive methods. 

LOCAL INTENSIFICATION 

What has been said of chemical reduction holds true of chemical intensifica¬ 
tion. Avoid it. You will find any really high grade Red and Blue Ink invalu¬ 
able in holding back parts of the negative which through being too thin give 
blocked-up shadows. 

Dilute the ink to a faint tinge of color with distilled water to which a trace 
of Ammonia has been added, say one drop of Ammonia to a teaspoonful of 
water. When to use red and when blue will come to you with practice. The 
quality, the color, the subject matter of the negatives will be governing factors. 

Some workers advocate tinting on a dry negative, many insist the plate 
should be soaked and the surface moisture blotted off with a clean, soft 
chamois skin. Use your own judgment. Try both and decide. 

Be assured that no time is gained by putting on a deep color. You risk 
spoiling. Use the faintest tint and go over and over until sufficient body is 
built up. If, in the worst contingency, you have been indiscreet, soak the 
negative in water slightly acidulated with Acetic Acid and the dyes willjmelt 
out. 

Use a fine Camel’s Hair or Sable Brush. 

REDUCER—Belitzski—Plates and Films 


Potassium Ferric Oxalate.192 grains 

Water. 4 ounces 

When dissolved add: 

Sodium Sulphite (anhydrous). 77 grains 

When dissolved add: 

Oxalic Acid.57 grains 

Shake until of a bright green color, filter and add: 

Hypo... 2 ounces 


Shake until dissolved, filter again and bottle for use. Keep in the dark. It 
remains good and may be used, over and over, until it turns yellow, which 
denotes exhaustion. 

REDUCER TO LESSEN CONTRAST—Plates and Films 


Ammonium Persulphate.120 grains 

Sodium Sulphite (anhydrous). 19 grains 

Sulphuric Acid (C. P.). 18 minims 

Water (distilled)... 4 ounces 


To use, take one part of the above to 5, 6, 7, 8, or 9 parts water. Remove 
before reduction has quite reached the desired stage and wash promptly. This 
stock solution will keep for several months but will probably work more ener¬ 
getically the older it gets. When its action is found to be too radical discard 
and mix a fresh supply. 











PORTRAIT BY J. ANTHONY BILL 



This is the color given by the Blumann formula, Page 39 


a 

Twin /lr*c 

Lamp 



S|>eci affy 


i PPED 

Stud•O 

Br« O fit 

L *tit »n 

















PORTRAITS BY O. J. SMITH 


This is the color given by the Violet Brown Toner, Page 36 



In the left hand portrait the window is clear glass, 12 feet wide by 9 feet high. Opaque 
curtain closing lower portion to height of 4 feet. Subject 7 feet from window. 

Right hand portrait offers a decided novelty. The arrangement of reflectors and opa¬ 
que screens is no less startling than the lighting. 





















PORTRAITS BY 0. J. SMITH 


This is the color given by the Blumann jormula, Page 39 



Screen Number 1 in these cuts and in all succeeding is to be known as the 
India Linen, Black, Head-Screen. 

Screen Number 2 is an opaque material intended to cut off the light. 

In the left hand illustration, above, Screen No. 1 shades the face and neck. 
In the right hand illustration, Screen No. 2 shades the left shoulder. 
Negatives made on Eastman Portrait Films. 


27 







This is the color given by the Blumann formula. Page 39 


Subject 

l o F«.« L 

LiqHT 



28 


3 


rrrrnrm m 










PHOTOGRAPHIC WORKROOM HANDBOOK 


29 


REDUCER—Farmer—Plates and Films 

The approved formula is to add a certain amount of one to a given amoun f 
of the other of the following chemicals, but a rule that will fit any work-room 
and need is to make a one-in-five solution of Hypo and tint it faintly with 
Ferricyanide of Potassium. The darker the tint the more aggressive the 
action. 

This eats out the half-tones and clear parts of the negative, thus increasing 
contrast. Good for line drawing, copying negatives. It also removes fog. 


REDUCING BY FRICTION 

Wet a clean piece of muslin or chamois skin with Alcohol and rub lightly and 
briskly over the parts to be reduced. This is done by drawing the cloth tightly 
over the index finger. Change to a clean spot frequently and keep moist with 
the alcohol. The abrasive reducer given in another place in this book will also 
be found useful. Work lightly and remember—haste makes waste. 


REDUCER AND STAIN REMOVER—Plates or Films 


Potassium Permanganate (5% solution). 2 drops 

Sulphuric Acid (10% solution). 5 drops 

Water. 10 ounces 

For vigorous reduction use full strength. 

Use on dry negative without soaking. 

This also removes stains. 


INTENSIFIER, Amidol—Great Density—Plates or Films 


A Potassium Bichromate. 4 drachms 

Water. 5 ounces 

B Hydrochloric Acid (C. P.). 4 drachms 

Water. 5 ounces 


For use: 4 ounces “A” to 3 drachms “B” and add Water 16 ounces. Bleach 
thoroughly and re-develop in any good Amidol developer. 

Increase of the Hydrochloric Acid content and decrease of the water dilu¬ 
tion of the bleacher decreases the density of the intensification. 


INTENSIFIERS, Amidol—Bromide Papers 

Soak print in water till limp, then bleach in: 


Water. 10 ounces 

Potassium Bichromate. 50 gr. 

Hydrochloric Acid.. }4 ounce 


Wash till cleared and re-develop in daylight with any normal Amidol or 
M. Q. developer with NO Bromide. 












30 


PHOTOGRAPHIC WORKROOM HANDBOOK 


INTENSIFIER AMIDOL—Bromide Paper 

Soak Print in water till limp, then bleach in: 

Water. 10 ounces 

Bichloride Mercury. # ounce 

Hydrochloric Acid.. 30 minims 

Wash for five minutes and re-develop: 

Amidol.mustard spoonful 

Sodium Sulphite. tea spoonful 

Sodium Bisulphide. 30 grains 

Water.. 3 ounces 

CHROMIUM INTENSIFIER—Plates and Films 

After washing out the Hypo more or less the negative is ready for treatment, 
or if dry, soak until thoroughly saturated and then proceed. 


A Potassium Bichromate.192 grains 

Water. 8 ounces 

B Hydrochloric Acid. jounces 

Water. 8 ounces 


To use, take A, 2 parts; B, 2 parts; Water, 1 part. When bleached through 
to the glass, wash thoroughly and redevelop in Amidol developer without Bro¬ 
mide and in diffused daylight. 

INTENSIFIER, Pyro—Fine Grain—Plates or Films 


A Potassium Ferricynide. 1 ounce 

Water to. 10 ounces 

B Potassium Bromide. 1 ounce 

Water to. 10 ounces 

C Potassium Bichromate. 1 ounce 

Water to. 10 ounces 

D Metabisulphite. 1 ounce 

Pyro. 1 ounce 

Water to. 8 ounces 

E Ammonia (stronger). 1 ounce 

Water to. 10 ounces 


For slight intensification bleach in 2 drachms of each “A” and “B” and 2 
ounces water. When thoroughly bleached wash by yellow light till clear of 
stain and re-develop in 1 drachm each of “D” and “E” and 2 ounces of water 
in bright daylight till whiteness is gone when viewed from glass side. 

For greater intensification (stain dye) re-develop in 2 drachms “D”, 4 
drachms “E,” 2 ounces water. Let this turn decidedly tinted by oxidization 
before putting in the bleached negative. 

For very dense intensification take 2 drachms each of “A,” “B,” and “C” 
and add 2 ounces of water. Bleach in this and wash even more thoroughly be¬ 
fore re-development, which carry out in bright daylight and rocking of the 
tray. 
























PHOTOGRAPHIC WORKROOM HANDBOOK 


31 


DRY CHROMATE INTENSIFIER—Plates and Films 

Place 6 ounces of Hydrochloric Acid in an evaporating dish, add 600 grains 
of Ammonium Bichromate and on a sand-bath apply heat until dry. A few 
grains of this to the ounce of water will make the bleach which use as above. 
Wash and develop as directed. 


INTENSIFIER—Bromides and Chlorides 

O. V. Lange, writing in^''Camera Craft/' gives the following simple method 
of intensifying bromides: 

“A few days back I had a bromide print that was a trifle weak; it was too 
late to make another exposure, so I put the print on a glass plate and poured 
on it a half-strength saturated solution of mercuric chloride. When it com 
menced to bleach, it was washed well, and then a weak solution of ammonia 
was poured over, and the result was just what was wanted. It had the property 
of warming up the general tone of the print, and as it was a portrait, it was 
decidedly beneficial.” 


NOTES ON INTENSIFICATION 

My experience with intensifies of my own compounding have not been uni¬ 
formly satisfactory. The mercurial compounds acted perversely, the chromates 
were temperamental. 

Manufacturers: Agfa, James H. Smith & Sons, Burroughs Wellcome—seem 
to know how to train their chemicals and I buy my intensifies and reducers. 
They are cheaper in the long run because they do not spoil my negatives and 
do their work well. 


STALE PAPERS 

To reclaim paper spoiled by time or moisture soak each sheet for a minute in: 

Potassium Permanganate. 5 grains 

Hydrochloric or Sulphuric Acid.30 minims 

Water.10 ounces 

Rinse for a minute or two in water and soak for an equal length of time in: 

Sodium Sulphite.40 grains 

Water.10 ounces 

Wash for five'minutes, hang in the dark to dry and pack away for future use 
or the wet paper may be pinned to the enlarging board (if Bromide paper) and 
an enlargement made forthwith. 

The time of exposure must be doubled as the paper loses sensitivity by about 
one-half. 

The above and a maximum of Potassium Bromide in the developer may 
salvage paper otherwise wasted. Such paper may also be fixed out and sensi¬ 
tized with Blue Print or Kallitype sensitizers—thus becoming a new product. 







32 


PHOTOGRAPHIC WORKROOM HANDBOOK 


BROMIDE TONERS (O. Kuhne Formula)—Hydroquinone 

Put print into this until desired color. 

Water. 200 ounces or 20 ounces 

Bromide Potassium. 5 ounces or X ounce 

Hydroquinone. 1 ounce or 45 grains 

It will tone a good reddish black and harden the emulsion wonderfully. 
Purple Brown: Rinse from above and put into any Amidol developer. 
Bartolozzi—Red. Work with perfectly washed and dried prints. 


A Water. 10 ounces 

Ammonia Carbonate. ounces 

Copper Sulphate. 100 grains 

Potassium Ferricyanide. 250 grains 


Dissolve the Copper Sulphate in as little water as possible separately. Also 
the Potassium Ferricyanide separately. 

Add to the Ammonia Carbonate, slowly stirring: 

B Hypo. 1 ounce 

Boric Acid. 50 grains 

Water to. 10 ounces 


C Ammonia 
Water... 


1 drachm 
25 ounces 


Put into “A” for shortest time necessary to tone. Fix in “B,” clear in “C.” 


Rinse well between each operation. 

A Potassium Oxalate. 120 minims. 

Copper Sulphate. 24 minims. 

Acetic Acid. 6 minims. 

Potassium Ferricyanide. 18 minims. 

Ammonia Alum. 60 minims. 

Water. 10 ounces 

B Copper Sulphate. 30 grains 

Sodium Chloride. 6 grains 

Hydrochloric Acid. 3 minims. 

Water. 1 ounce 


Tone in “A” until desired color. Fix and clear AFTER 5 minutes rinsing 
in “B.” 


Gold Tone—Red 

Take the Sulfided prints and tone in this solution. 

Add “A” to “B” slowly, stirring continuously. 


A Gold Chloride. 2 grams 

Hot Water. 1000 c.c. 

B Ammoniate of Potassium Sulfocyanide. 12 grams 

Hot Water. 1000 c.c. 

Tones in 10 minutes. 




























PHOTOGRAPHIC WORKROOM HANDBOOK 


33 


RED TONER—Bromides 


Copper Sulphate. 20 grains 

Potassium Ferricyanide. 10 grains 

Water. 3 ounces 


To the muddy solution add slowly a saturated solution Ammonium Carbo¬ 
nate till precipitate that first forms re-dissolves and liquid is clear greenish 
blue, then add one half ounce more of the Ammonium Carbonate. 

Tone to the desired color and clear in: 

Water. 6 ounces 

Ammonia. 30 drops 


TONER, Copper Red—Bromides and Chlorides 


Water. 

Copper Sulphate (1:10). 

Ammonia Oxalate (1:25) 
Potassium Ferricyanide (1:5) 
Chromic Acid (1:20).. 


30 c.c. or 
2 c.c. or 
20 c.c. or 
2 c.c. or 
15 drops or 


1 ounce 
30 drops 
338 drops 
30 drops 
15 drops 


TONER, Brown to Red—Bromides 
Over-expose and develop in an Acidulated developer, using Citric Acid 
preferably. 

TONER, Brown—Bromides 


Bleach in: 

Potassium Ferricyanide. J^ ounce 

Potassium Bromide. y 2 ounce 

Water. 4 ounces 

Re-develop in: 

Sodium Sulphide .. 1 part 

Water. 100 parts 


SEPIA TONER 


Potassium Hydroxide. 1 ounce 

Water. 10 ounces 


While boiling add flowers of Sulphur (resublimed Sulphur) until no more 
will dissolve. Cool, filter and bottle. To use, take about one ounce to 20 of 
water. 

VELVET TONER—Improves Any Print—Bromides 


Bleach in: 

Potassium Bichromate. 100 grains 

Water.. 10 ounces 

Hydrochloric Acid. 3 drams 


Wash for five minutes and re-develop in any Amidol Developer. 























34 


PHOTOGRAPHIC WORKROOM HANDBOOK 


SULFIDE TONING 
BLEACH 

Potassium Ferricyanide. 1 ounce 

Potassium Bromide. 1 ounce 

Water. 24 ounces 

Use: 1 ounce of above, 1 ounce water, 1 drop Ammonia. 

RE-DEVELOPER 

Sodium Sulfide. 1 ounce 

Water. 12 ounces 

Use: 1 ounce of above, 8 ounces water. 

IMPROVED BLEACHER 

Potassium Bichromate. 3 drachms 

Sulphuric Acid. 1 % ounces 

Sodium Chloride. 2 ounces 

Water. 1 pint 


Use with equal parts water. Clear yellow stain in table salt water. Rinse in 
clear water. 

Re-develop in Sulfide. If the bleach should spot and mottle it does not 
matter. 

HYPO-ALUM TONING BATH 
FOR SEPIA TONES ON VITAVA AND AZO PAPERS 
T-la 

Avoirdupois Metric 

Cold Water. 90 ozs. 2700 c.c. 

Hypo. 16 ozs. 450 grms. 

Dissolve thoroughly and add the following solution: 

Hot Water (about 160°F.) (71°C.).. 20 ozs. 600 e.c. 

Powdered Potassium Alum. 4 ozs. 120 grms. 

Then add the following solution (including precipitate) slowly to the above 
hypo-alum solution while stirring the latter rapidly. 

Cold Water.. 2 ozs. 60 c.c. 

Silver Nitrate Crystals. 60 gms. 4 grms. 

Sodium Chloride (Table Salt).60 grns. 4 grms. 

After combining above solutions, add 
water to make. 1 gal. 4 liters 

Note—The silver nitrate should be completely dissolved before adding the 
sodium chloride, and immediately afterwards the solution containing the 
milky white precipitate should be added to the hypo-alum solution as directed 
above. The solution should be milky white if correctly mixed. 

To use, heat in a tray on a water bath to 120°F. (49°C.), never higher than 
130°F. (54°C.), and tone for 12 to 15 minutes. If prints have been dried, they 
should be thoroughly soaked in water before toning. The black prints should 
be a shade darker than desired in the finished print and fully and evenly de¬ 
veloped. When toned, place in warm water and sponge off any sediment 
Wash for one hour in running water. 


















PHOTOGRAPHIC WORKROOM HANDBOOK 


35 


SEPIA RE-DEVELOPER 
FOR VELOX, AZO AND BROMIDE PAPERS 
T-7 


No. 1 Stock Bleaching Solution 

Avoirdupois 

Metric 

Potassium Ferricyanide. 

2,}4 ozs. 

75 grms. 

Potassium Bromide. 

ozs. 

75 grms. 

Water. 

64 ozs. 

2 liters 

No. 2 Stock Re-Developing Solution 
Sodium Sulphide (not sulphite). 

1 ozs. 

45 grms. 

Water. 

16 ozs. 

500 c.c. 

BLEACHING BATH 


Stock Solution No. 1. 

16 ozs. 

500 c.c. 

Water.. 

16 ozs. 

500 c.c. 

RE-DEVELOPER 


Stock Solution No. 2. 

4 ozs. 

120 c.c. 

Water. 

32 ozs. 

1 liter 


MANIPULATION 

1.—Immerse print, which should first be thoroughly washed, in the bleach¬ 
ing bath, allowing it to remain until only faint traces of the half-tones are left 
and the black of the shadows has disappeared. This operation will take about 
one minute. 

Note—Particular care should be taken not to use trays with any iron ex¬ 
posed, otherwise blue spots may result. 

2— Rinse Thoroughly in clean, cold water. 

3— Place in re-developing solution until original detail returns (for about 30 
seconds). Immediately after the print leaves the re-developer, rinse thorough¬ 
ly, then immerse it for five minutes in a hardening bath composed of Hardener 
1 ounce (Formula F-la), Water 16 ounces, then remove print from this bath 
and wash it as usual. The color and gradation of the finished print will not be 
affected by the use of this bath. 

4— Wash for half an hour in running water. 


TONING IN DEVELOPMENT—Bromides and Chlorides 


Water. 1000 ccm. 

Sodium Sulphite. 55 grams 

Glycine. 3 grams 

Hydroquinon. 10 grams 

Potassium Hydroxide. 50 grams 

Potassium Bromide. grams 


To use: 

For Brown Black overexpose.2 times 

For Brown overexpose.3 times 

For Red Brown overexpose.4 to 8 times 

For Orange overexpose.8 to 20 times 


Needs some slight modifying to suit different bracds of papers. 





















36 


PHOTOGRAPHIC WORKROOM HANDBOOK 


GOLD MEDAL TONING BATH 

T-13 



Avoirdupois 


Metric 

Stock Solution No. 1 

32 ozs. 

1 gal. 

1 liter 

Boiling Water. 

32 ozs. 

1 gal. 

1 liter 

Hypo. 

Powdered Potassium 

4 ozs. 

16 ozs. 

120 grms. 

Alum. 

y oz. 

2 ozs. 

15 grms. 

Boil two minutes, allow to cool and add: 



E. K. Co. Sodium 




Phosphate (Dibasic) 

Y* oz. 

2 ozs. 

15 grms. 

Test with Red Litmus paper. 

If the paper does not turn blue in one minute 

add Sodium Phosphate in the above mentioned quantities until it does. Then 

prepare the following solutions: 




Silver Nitrate Crystals. 

15 gras. 

60 gras. 

1 grm. 

Water. 

y oz. 

1 oz. 

7.5 c.c. 

and: Potassium Bromide.... 

45 gras. 

180 gras. 

3.1 grms. 

Water. 

Ya oz. 

1 oz. 

7.5 c.c. 


Pour the Bromide solution in the Silver solution and immediately add the 
mixture with the precipitate to the cool hypo-alum bath. 

The bath must be cool when these solutions are added. 

Stock Solution No. 2 Avoirdupois Metric 

Water. 2 ozs. 60 c.c. 

Gold Chloride. 15 gras. 1 grm. 

To tone use: 

No. 1 Solution. 16 ozs. 400 c.c. 

No. 2 Solution. 1 drm. 3 c.c. 

Heat the bath to a temperature of 120° to 125°F. (49° to 52®C.) and place 
all the prints to be toned in the bath at once. Keep prints separated. Toning 
will require about 20 minutes. 

TONER, Violet Brown—Bromide Papers 

Potassium Chloride Solution (1:10). 600 c.c. 

Copper Sulphate (1:10). 80 c.c. 

Potassium Ferricyanide (1:10). 70 c.c. 

Water to make double the quantity. This intensifies. 

FERRICYANIDE-AMMONIUM BLEACHER 


Ammonium Carbonate. 40 grains 

Potassium Ferricyanide. 10 grains 

Water. 1 ounce 

FERROUS SULPHATE TONER 

Ferrous Sulphate. 10 grains 

Hydrochloric Acid. 6 minims 

Water. 1 ounce 

i 




















PHOTOGRAPHIC WORKROOM HANDBOOK 


37 


TONER, Purple Brown—Bromides and Chlorides 


Sodium Sulfide. 50 grams 

Ammonia Sulfocyanide. 100 grams 

Ammonia. 5.5 c.c. 

Water to. 1000 c.c. 

Tones without bleaching. 


TONER, Kugler Formula; Green—Bromides 

Bleach in: 

Potassium Ferricyanide. 5 grams or 77 grains 

Water. 100 ccra. or 3 ounces 

Ammonia.. 5 drops or 5 drops 


Bleach until light gray brown. Wash until stain is out, then tone for 5 
minutes in Blue Toner. 

Citrate Iron and Ammonia. 2 grams or 30 grains 

Water. 100 ccm or 3 ounces 

Hydrochloric acid. 5 ccm. or 25 minims 


Rinse briefly and complete for 5 minutes in: 


Sodium Sulfide. 1 gram 

Water. 100 ccm 

Hydrochloric acid. 5 ccm. 


or 15 grains 
or 3 ounces 
or 25 minims 


TONER, Green—Bromide Papers 

It will be found that the Toner given for Gaslight Toners will be equally 
effective with Bromides. Should toning proceed too rapidly simply dilute 
with water till the proper proportion is found. 

It will be well to note that complete change of color should not be ob¬ 
tained under fifteen minutes. Too rapid toning leads to trouble. 

The all important matter in procedure is that after the bleaching the 
prints be washed till every vestige of stain is removed and the wash 
water shows no tinge of color in a test tube that has been rendered clean 
for the purpose. 


TONER. Emerald—Bromide Papers 

Re-develop in same as above only substitute 2 drachms Acetic Acid for 
the ifyz drachms of Hydrochloric Acid, and Fix in a plain Hypo bath. 















38 


PHOTOGRAPHIC WORKROOM HANDBOOK 


NOTES ON GREEN TONING 

While formulae are given for Green Toning of prints and will be 
found to give satisfying results we must confess that we have made 
a great saving in time and actual cost by buying the ready com¬ 
pounded toners obtainable from Photo Supply houses. 

The Vanadium Toners give wonderfully vivid greens obtainable by 
no other means and this salt is not only rather costly but the mixing is 
not a simple task. For such the Burroughs, Wellcome & Co.’s Tabloid 
Green Toners are especially desirable. They need only tc be dissolved 
in the quantity of water directed and are both reliable and handy. 

TONER, Malachite Green—Bromide Papers 


Uranium Nitrate Solution (1:100). 25 c.c. 

Citrate Iron and Ammonia (1:100). 25 c.c. 

Acetic Acid. 10 c.c. 

Potassium Ferricyanide (1:100). 50 c.c. 


GASLIGHT TONERS 

For Arturo, Vittex, Cyko Enlarging and all Chlorides. 
Green 


A Potassium Bichromate. 20 grains 

Potassium Ferri Cyanide. 100 grains 

Water. 8 ounces 

Bleach print in this about 3 minutes. 

Wash until stain is entirely gone. 

Tone in: 

B Cobalt Chloride. 80 grains 

Ferrous Sulphate. 20 grains 

Muriatic Acid. drams 

Water. 8 ounces 


“A” will take 10 or 15 minutes to dissolve and as long to bleach. 

Wash for 10 or 15 minutes and fix in Hypo 1:10. 

NOTES: The longer the bleaching in “A” the lighter the green. Substitute 
Acetic for Muriatic and get Emerald Green, using 2 drams Acetic to the 8 
ounces water. 


TONER, Green—Bromides and Chlorides 

Ten percent solutions of: 

A Uranium Nitrate 
B Ammonia Citrate Iron 
C Potassium Ferricyanide 
D Nitric Acid 

Take “A” and “B” 12 drops each; “C” and “D” 24 drops each. Water to 
make 1 ounce. This intensifies the print. 













PHOTOGRAPHIC WORKROOM HANDBOOK 


39 


TONER, Blue—Bromide Papers 


Water.... z\y 2 ounces 

Potassium Ferricyanide. 12 grains 

Ammonia Ferric Citrate. 12 grains 

Nitric Acid C. P... 24 drops 

Wash for at least twenty minutes. 

TONER, Blue—Bromides 

Citrate Iron and Ammonia. % ounce 

Potassium Ferricyanide. ^4 ounce 

Glacial Acetic Acid. y 2 ounce 

Water. 10 ounces 

TONER, Blue —Bromides and Chlorides 

Soak print in dilute Acetic Acid, then tone as below: 

A Citrate of Iron and Ammonia. 10% solution 

Hydrochloric Acid... 10% solution 

Equal parts. 

B Potassium Ferricyanide. 1 ounce 

Water. 9 ounces 


Use “A” 1 part, “B” 2 parts. If too quick in action dilute. Wash for at 
least 20 minutes or in 10 changes of plenty of water. 


TONERS, Various Colors—Bromides and Chlorides 


NOTE: Best tones are gotten if exposure was right and development 

complete. 

BLUMANN FORMULAE 


A Water. 3# ounces 

Nitrate or Acetate Uranium. 20 grains 

Glacial Acetic Acid. yZ ounce 


B Water. SyZ ounces 

Ferricyanide Potassium. 20 grains 

Glacial Acetic Acid. yZ ounce 


C Water. SyZ ounces 

Citrate Iron and Ammonia. 20 grains 

Glacial Acetic Acid. yZ ounce 


Blue: “B” 1 part “C” 1 yZ parts 
Green: “A” 1 part “B” 1 part “C” 1 part 
Sepia: “A” 2 parts “B” 1 part 
Red: “A” 1 part “B” 1 part 


Be sure prints are free from Hypo. 
Wash after toning in three changes of: 


Glacial Acetic Acid. 1 to 5 drops 

Water.*. 4 ounces 


Wash in three changes of still water, Fix and clear in following for five 


minutes: 

Water... 

Potassium Alum. 

Wash in three changes of still water. 


40-60 ounces 
1 ounce 




























40 


PHOTOGRAPHIC WORKROOM HANDBOOK 


TONING, By Redevelopment—Bromides and Chlorides 


Eastman Bromide Formula 

Bleacher 

A Potassium Ferricyanide. 6 ounces 

Potassium Bromide. 5 ounces 

Water. 120 ounces 

Re-develop in: 

B Sodium Sulphide. 5 ounces 

Water. 60 ounces 

Use: Take Stock Solution “A”. 4 ounces 

Water. 4 ounces 

Rinse until last trace of yellow is gone, then re-develop in: 

Stock Solution “B”. 1 ounce 

Water. 8 ounces 

Remove and without rinsing put in: 

Velox Acid Hardener. 1 ounce 

Water. 16 ounces 


After 5 minutes wash thoroughly, or harden in Alum Solution, and then 
wash. 

IMPROVERS—Bromide Papers 

Several correspondents having written for help in the matter of preserving 
the “juicy” appearance which bromide prints have when fresh, we may publish 
the reply for the information of every reader. 

This is generally the fault of over-exposure; but great improvement can be 
affected by laying the print face upwards, after washing, on a sheet of glass, 
and brushing over with the following solution when it has cooled: 


Potassium Sulphocyanide.30 grains 

Chloride of gold. 2 grains 

Boiling Water. 4 ounces 

The print must be well washed afterward. If the print is weak and thin look¬ 
ing, then possibly the following may be useful: 

Potassium Sulphocyanide. 60 grains 

Mercuric Chloride. 15 grains 

Distilled Water. 3}A ounces 


Just before use, add a few drops of chloride of gold solution to a little of the 
above and brush over the print; then rinse well and re-fix. 

REDUCER AND CLEARER—Bromide Papers 

This will retrieve many a spoiled sheet of paper. 

Make a saturated solution of Iodide of Potassium. In another vessel 
put 1 drachm of Iodine flakes in 1% ounces of water and add to this a 
little at a time and with constant stirring the Iodide Solution until the 
Iodine flakes dissolve, or: 



















PHOTOGRAPHIC WORKROOM HANDBOOK 


41 


Water.......... 2 ounces 

Iodine... 1 drachm 

Add Iodide of Potassium a few crystals at a time until solution is achieved. 
If the print turns blue fix in dry acid bath. 

SENSITIZER—Blue Print 


A Citrate Iron and Ammonia.120 grains 

Water. 1 ounce 

B Potassium Ferricyanide... 105 grains 

Water. 1 ounce 

C Oxalic Acid....... 30 grains 

Water. 1 ounce 


To use: A, 10 parts; B, 10 parts; C, 2 to 6 parts. 

The more “C” the softer the prints: Too much will fog the whites. The 
separate solutions keep, but once mixed the solution must be used within a day. 

SENSITIZER—Blue Prints 


A Citrate Iron and Ammonia. 1 ounce 

Water. 2}4 ounces 

B Potassium Ferricyanide. 1 ounce 

Water. 8 ounces 


Use: 1 part “A” to 2 parts “B.” Mix just before using. 


SENSITIZER—Blue Prints 

A Iron Citrate Ammonia. 120 grains 

Water. 1 ounce 

To this add Concentrated Ammonia till it smells of it. 

B Potassium Ferricyanide. 105 grains 

Water. 1 ounce 

C Acid, Oxalic. 30 grains 

Water. 1 ounce 


Separate the solutions. Will keep but they should not be mixed until ready 
to use. 

To mix take 10 parts “A,” 10 parts “B” and add to 6 parts “C.” Use “C” 
with discretion, for it will cloud the whites. 

TONING BLUE PRINTS 

There are formulas said to turn Blue Prints Black, Sepia, and what not. 
Our most careful and persistent experiments, and the search of years for a 
truly satisfactory way of accomplishing the feat have resulted in partial 
success, at best. We therefore advise that if the reader desires prints in colors 




















42 


PHOTOGRAPHIC WORKROOM HANDBOOK 


he use other processes. A Blue Print is beautiful as such. Though held in con¬ 
tempt on account of its cheapness it is beautiful in its color and may be made 
so in its quality. Commercially, being cheap, there is no reason why the sensi¬ 
tizing should not be done with the solutions giving the best results, and with the 
care usually expended on more complicated processes. 

For those who want to tone Blue Prints, here are some formulae: 


BLACK TONE FOR BLUE PRINTS 


Bleach in: 

Borax. 1 drachm 

Concentrated Ammonia. 1 drachm 

Water. 6 ounces 


Wash well and re-develop in a saturated solution of Gallic Acid. 


SEPIA TONER FOR BLUE PRINTS 


Water. 3 ounces 

Tannic Acid. 1 drachm 

Hydrochloric Acid. 8 drops 


Use 1 drachm of the above to 6 ounces of water and soak the print in this 
2 to 4 minutes: Wash well and tone to desired degrees in: 


Potassium Carbonate. ounces 

Water. 15 ounces 

Wash thoroughly and dry. 


VIOLET TONER FOR BLUE PRINTS 
Soak for 4 or 5 minutes in: 

Water. 95 parts 

Borax. 5 parts 


Wash well and tone in: 

Water.. 

Tannic Acid.... 
Gallic Acid. 


1 pint 
% ounce 
yi ounce 


NOTES ON BLUE PRINTS 

The sensitizers may be applied to almost any paper without sizing, but a 
small amount of Gum Arabic in the solution helps wonderfully to keep the 
image on the surface. 

It does not seem to be generally known that hard, calendered, or richly sized 
papers give greater contrast and that soft papers, even with surface sizing 
(unless Baryta coated), give softer prints and finer gradations. 

The sizing may be achieved by adding Gum Arabic to the sensitizer or as a 
preliminary operation by dipping the paper in a very weak starch, arrow-root, 
or glue solution. 















PHOTOGRAPHIC WORKROOM HANDBOOK 


43 


KALLITYPE—Sensitizer 

Distilled Water. 

Ferric Oxalate. 

Silver Nitrate. 

.. 1 ounce 

.. 75 grains 
.. 30 grains 

Dissolve the Oxalate in tepid (not hot) water, adding a few grains of Oxalic 
Acid to hasten solution, filter rapidly and add the silver. Keep in brown 
bottle and allow it to ripen for a few days. 

Developer 

Black Tones: 

Borax. 

Rochelle Salts. 

Water. 

.. 2 ounces 

.. 1% ounces 

.. 20 ounces 

Purple Brown Tones: 

Borax. 

Rochelle Salts. 

Water. 

.. Yi ounce 
.. 2 ounces 

.. 20 ounces 

Sepia Tones: 

Rochelle Salts. 

Water. 

.. 1 ounce 

.. 20 ounces 

Platinum Blacks: 

Sodium Acetate. 

Water. 

.. 3 ounces 
.. 20 ounces 

In all the above a saturated solution of Bichromate of Potassium should be 
added drop by drop to the amount required to produce contrast and avoid 
fog. This acts as Bromide does in Bromide of Chloride emulsion developers. 

Clearing Bath: 

Oxalate of Potassium. 

Water.. 

Fixing Bath: 

Watf»r. 

.. 1 ounce 

.. 8 ounces 

.. 20 ounces 

Hypo. 

Ammonia. 

.. 1 ounce 

.. 125 minims 


NOTES 

The addition of a little Gum Arabic to the sensitizer will keep the image on 
the surface and render it more brilliant. 

Apply with a rubber-bound Camel’s Hair brush or an absorbent cotton mop. 
Dry in the dark and use within 24 hours of drying. 

The same things apply to hard and soft papers as have been stated on page 
39 of Blue Prints. Kallitype, however, is more sensitive to paper impurities. 




















44 


PHOTOGRAPHIC WORKROOM HANDBOOK 


PLATINUM PAPER 

Adding a few drops of Potassium Chloro-platinite Solution to the 
Kallitype Sensitizer will give Platinum Papers. 

SEPIA PAPER 

Photo Miniature credits the following to the author, who hereby affirms 
that he evolved it from a paper once marketed by the Eastman Kodak Com¬ 
pany. It is good if a true Sepia tone and broad effects are wanted. 

Soak any hard gelatine in water, overnight—about 6 grains to the ounce. 
Next day complete solution by boiling in a double boiler. When cooled to a 
tepid temperature add in the order given and after each has dissolved: 


Tartaric Acid. 8 grains 

Silver Nitrate. 9 grains 

Citrate of Iron and Ammonia. 40 grains 


Filter rapidly through absorbent cotton and keep in brown bottles. 

Coat in the usual way and use as soon as possible after drying. If necessary 
to keep it should be packed face to face. 

Prints develop in plain water like a Blue Print. Wash prints in several 
changes of water and fix in: 

Water. 2 ounces 

Hypo. 25 grains 

A peculiar quality of this paper is that it goes on printing in the dark. Ex¬ 
posed under a negative for half the required time and put into a dark box it 
will be found over printed in the course of an hour or two. 

The image shows as on Platinum Paper until developed, that is, a sort of 
grayish shadow on a yellow ground. 

TONING KALLITYPES 

All Iron Salt images may be toned in the old formulae of Gold Toners or 
Platinum, or in similar solutions in which the salts of Selenium, Paladium, or 
Uranium are substituted for the Gold or Platinum. The resultant tones and 
qualities are characteristically different and differently beautiful. In that Bi¬ 
chromate offers so ready a control in the sensitizer, in the developer, and as a 
local reducer, Kallitype is a particularly fit pictorial medium. 

Kallitype may be made to yield fine detail and soft prints with a long range 
of tones, or broad, sketchy effects. This is achieved by the use of more or less 
Bichromate in the sensitizer and developer, by using smooth, hard, or rough, 
soft paper, and by using gum in the sensitizer. Bichromate makes for con¬ 
trast. In toning, contrasty prints give the best results. 














PORTRAIT BY J. ANTHONY BILL 

This is the color given by the Blumann Toner, Page 39 





Subject 

15 Feer 

■from 

Skyu^ht 


© Q SSS.N 










PORTRAIT BY O. J. SMITH 


Vanadium Green 

See Notes on Green Toning, Page 38 

The straight window is of clear 
glass; lower portion closed to a 
height of 4V2 feet. This window is 
12 feet wide by 9 feet high. 

The opaque screen is brought 
forward sufficiently to shade ear. 

Subject is 8 feet from light. 






PORTRAIT BY O. J. SMITH 



Copper Toned Red, Page 33 

The lighted match effect is pro¬ 
duced by the subject holding a 60- 
watt Mazda bulb between his 
hands, the direct light from which 
is carefully shielded from the lens 
by his fingers. 


47 






TORTRAIT BY J. ANTHONY BILL 

This is the color obtained by Sulfide Toner, Page 34 


Twin 

ARC 

LAMP 





At Home 

Portrait 
B y JL»q Ct 


6 


48 







PHOTOGRAPHIC WORKROOM HANDBOOK 


49 


BROMOIL PROCESS 

There is on the market a neat, substantial, and compact box known as the 
Drem Bromoil Outfit. It contains every item needed to supplement any 
equipped dark-room to carry on to completion the bromoiling of prints. The 
brushes are the Dr. Mayer bristle bromoil brushes and in fact the outfit is in 
every detail made under direction, of the famous Viennese authority. 

Outfit Recommended 

Brushes: No. 20, No. 14, No. 8, No. 2, one of each. These may be the Fitch 
soft hair or the Mayer long bristle. Each have their special good qualities and 
each are favorites by various workers, respectively. The best Fitch brushes are 
the French, made by Bullier of Paris. The best bristle are the Drem or Mayer. 
Sinclair metal bound brushes are good but too heavy and the brass ferrule 
develops nasty verdigris. 

Inks: Sinclair Bromoil Inks are by far the best. French Encre is excellent, as 
are the Drem Bromoil Colors. Any good lithographic or offset ink will work in 
the hands of an adept. 

Palette Knife or Spatula: A small flexible one. 

Bleaches: Can be bought in capsules or concentrated solutions. The Drem 
and Sinclair are very fine. May be compounded easily, quickly, and cheaply, 
as needed, at home. 

Bromide Papers: Wellington Bromoil stands pre-eminently the one fool¬ 
proof paper with the least possibility of failure. P. M. C. numbers 5, 7 and 8; 
Mimosa semi-glossy; Gevaert numbers 42, 43, 47 and 48; Barnett ordinary, 
Smooth and Rough, Tiger-tooth, Platino-Mat and Cream Crayon; Ilford in 
most grades except the porcelain finishes; Ansco Bromides; Defender in those 
grades of Velour Black not characterized by porcelain surface or glossy; Haloid 
in Parchment and one or two of the rough grades; Charcoal Black “A” and 
“B”. 


BROMOIL PROCEDURE 

Expose, develop, rinse, fix, wash thoroughly, dry; bleach, rinse, fix in one or 
two successive baths, wash fairly, dry; soak, blot off moisture, ink up, hop and 
clear, re-soak as needed, build up, hop and clean up; dry, de-fat, dry. Com¬ 
pleted. 

BROMOIL DEVELOPER 

Amidol is recommended by every authority and while some advanced 
workers claim they can do with any developer except Pyro, all agree on Amidol. 

Goetz uses 2 grains of Amidol and 10 grains of Sulphite to each ounce of 
water and no Bromide. 

Dr. Mayer uses more Sulphite and prefers a faster developer to which he 
adds Bromide. 

Sophie Lauffer likes the Mayer proportions in the main but adds 25 grains 
of Citric Acid to 20 ounces of developer. 


60 


PHOTOGRAPHIC WORKROOM HANDBOOK 


BROMOIL FIXER 

After development the print should be fixed in the proportions of Hypo 1, 
Water 8, with slight acidulation of Acetic Acid or Sodium Bisulphite if desired, 
but not with Alum or other hardener. 

After bleaching fix in an acid bath of Hypo 1, Sodium Sulphite and Sodium 
Bisulphite a little (it doesn’t matter so long as the amount is not out of all 
reason); Water 10. Time about 5 minutes. 

Goetz uses a plain Hypo bath only. 

Takahashi insists on two successive fixings first in Hypo 1, Water 8 with 12 
grains of Sulphite to each ounce of the solution and a second bath of Hypo 1, 
Water 8, with Sodium Bi-Sulphite 10 grains to the ounce. 

SOAKING THE PRINT 

Different papers require different treatment. With some three to five minutes 
in water at room temperature suffices, others call for long immersion—some 
up to an hour. The longer the soaking the greater the contrast. Extreme con¬ 
trast may be achieved by adding a drop or two of Ammonia to each ounce of 
water in the soaking bath. 


INKS 

The stiffer and dryer the ink the greater the contrast. On papers with little 
or no evident relief and for soft effects use a thin ink. For papers with high 
relief and for more contrast use a hard or stiff ink. 

Inks may be softened with Mediums supplied for the purpose. We have 
used many of the butter substitutes (Nucoa, Fluffo, Cottolene, etc.), Vaseline, 
and certain grades of lubricating pastes with success. 

The important thing to know is that a mass of ink as big as a green pea may 
be softened by no more of the mediums mentioned than will adhere to a pin 
head. Use the softening material most sparingly or you will find your efforts 
in inking up produce only smudges. 

LAYING ON THE INK 

The ink having been spread out into an exceedingly thin layer on the palette 
which may be a sheet of glassine paper, an old plate, or a piece of glass, or any¬ 
thing of that sort, the tips of the hairs of the brush are just touched to the ink, 
which is equalized by tapping the brush gently on a clean part of the palette. 

Now gently lay the ink on the print by a patting motion. Kales gives a little 
side pressure or minute sweep to the hairs and others just touch the brush to 
the print and leave the deposit of ink by withdrawing the brush rather slowly. 

Remember you lay the ink on and you hop it off. A quick touch and a quick 
withdrawal removes the ink. 

Clean up and smooth out the print when it is built up to the density you 
desire with a clean brush by hopping or smudging. 

Dry in a place free of dust. The best way is to hang the print up by clips, 
weighing the paper at bottom with two extra clips. 


PHOTOGRAPHIC WORKROOM HANDBOOK 


51 


DE-FATTING 

The inky look may be removed after the print is absolutely dry by sub¬ 
merging it for a few minutes in Gasoline, Naphtha, Carbon Tetra Chloride, or 
any similar solvents of grease. Carbon Tetra Chloride is rather energetic but 
has the advantage of being neither inflammable or explosive. 

CLEANING THE BRUSHES 

Any of the solvents named for de-fatting will clean the hairs of ink but I 
have found Carbon Tetra Chloride the best. It is safe and it evaporates in a 
few minutes. Dip the tips of the hairs into the liquid and gently squeeze out 
between the folds of clean muslin. Repeat until perfectly free of ink. 

Once in a while use soap and water after the usual cleaning, manipulating 
as you would a shaving brush to produce lather. Rinse out very thoroughly and 
dry on a clean, lintless rag. Then hang up with the hairs down to thoroughly 
dry. 

Never put a wet brush into its sheath. 

WARNINGS 

Demachy has wisely said “Bromoil is distinctly not an athletic pastime/’ 
He meant that every operation is to be performed lightly. Do not lay on gobs 
of ink or hop with a rap as if you were driving a nail into hardwood. 

Patience and art, not force, achieve pictures in Bromoil. 

BOOKS 

The foregoing directions cover the ground in a skimming way that will serve 
many and be hopelessly inadequate for others. For the latter several excellent 
books exist. 

Dr. Mayer’s book on Bromoil, published by the American Photographic 
Publishing Company of Boston; and the Photo Miniatures, numbers 106 and 
186, will be found invaluable. Articles in the British Journal of Photography 
during October, 1926; in various issues of Camera Craft during 1925 and 1926; 
and in the issues of September, October and November of American Photog¬ 
raphy, will be of further help. 

SUMMARY 

There is nothing difficult about Bromoil. It is feared only on account of its 
being unfamiliar. Once learned all that is left is to acquire the art of making 
pictures or utilize the faculty already possessed. 

ODDS AND ENDS 

1 or 2 drops of Ammonia to the ounce of soaking water increases the relief 
when great contrast or speed is needed. 

Glycerine in the soak-water helps some papers to take the ink to let go of it. 

Entire areas may be wiped out and local retouching done with a quill 
Camel’s Hair brush wet with Javelle water or diluted Chlorax. 


52 


PHOTOGRAPHIC WORKROOM HANDBOOK 


BROMOIL BLEACHES 


A 

B 

C 


Copper Sulphate. 

Water. 

Potassium Bromide... 

Water. 

Potassium Bichromate 


. 5 drachms 

. 3K ounces 

. 5 drachms 

.. 3# ounces 

Saturated Solution 


To Use: Take 3 parts of “A” and “B” and 1 part of “C.” Add 2 minims of 
Hydrochloric Acid to each 7 ounces of this solution and dilute with 3 or 4 
volumes of water. 


BROMOIL BLEACH 
As Used by Louis A. Goetz 


Copper Sulphate (10% solution). 2 ounces 

Chromic Acid (10% solution). 1# drachms 

Potassium Bromide (10% solution). 1 % ounces 

Water. 3# ounces 


BROMOIL BLEACH 
Doctor Emil Mayers’ Formula 


Copper Sulphate. 6 grams 

Potassium Bichromate. 1 gram 

Potassium Bromide. 6 grams 

Hydrochloric Acid. 1 c.c. 

Water.210 c.c. 


STAIN REMOVER 


On hands—from ink or developer. 


A 

Potassium Permanganate. 

16 g. 

or 

ounce 


Sulphuric Acid C. P. 

5 cc. 

or 

75 minima 


Water. 

1000 c.c. 

or 

32 ounces 

B 

Sodium Bisulphite . 

5g. 

or 

1 drachm 


Water. 

100 c.c. 

or 

25 ounces 

Dip in “A”; rinse freely, then dip 

in “B” or any 

Acid Hypo. 


On hands—from Nitrate Silver 


A 

Potassium Ferricyanide. 

40 g. 

or 

1 ounce 


Potassium Bromide. 

40 g. 

or 

1 ounce 


Water. 1000 c.c. 

or 

24 ounces 


And, after rinsing, dip in “B” as above, or Acid Hypo. 

CARE OF THE HANDS 

Annointing the fingers with lanoline before commencing work, and rubbing 
the grease well into the skin, will do much to avoid the need of after treatment. 

























PHOTOGRAPHIC WORKROOM HANDBOOK 


53 


RETOUCHING 

A retouching frame may be made from pieces of soap and cracker boxes or 
the negative may be leaned against a glass tumbler with a sheet of white paper 
for reflector, but the manufacturers who make real retouching frames may be 
presumed to know what is best. A ready made device for the purposes 
costs from two to five dollars and may be folded up compact. 

Pencils must be of the best, graded from the hardest HHHH to medium 
hard. Faber's Siberian Graphite, Hardmuth, Dixon and the American Pencil 
Company produce splendid pencils for retouching. 

Sharpen pencils so that about an inch of the lead is cleaned off the wood and 
rub to a long needle point on 00 Sandpaper, finishing off on brown wrapping 
paper and even polish on a bit of muslin. Maintain the condition of the point. 

Brushes are indispensable and two or three Number 1 and 2 camel’s hair or 
sable will be about right. Wet them between your lips and see that they come 
to a true point and stay that way. Brushes that spread or have a tendency to 
shape irregularly are worthless. 

Wooden sticks are handy. Toothpicks of the sort that are pointed at one 
end and wedge-shaped at the other are best. 

A stick of the finest India Ink, a jar of Spotting or Opaquing compound or 
a cake of Windsor and Newton’s Indian Red should be part of the equipment. 

The stroke. Too much is said of the stroke. Cross hatching, figure 8, ovals, 
letter S, zig-zag, right angles, each has its use. Make it your study to match 
the effect of the parts immediately surrounding the spot on which you work. 
Also try to discover which fits your hand best. The only object of retouching 
is to get the desired effect without the work showing in the final print. A 
really fine retoucher can work up a plate with pencil, dope, etching, and every¬ 
thing put on and taken off the emulsion that can be devised and produce a 
negative that will enlarge 8 diameters without showing the work. 

Etching Knives: Individual tastes differ so on this head that many able 
retouchers and most inefficient ones make their own knives out of old razor 
blades, pen knives, barrel-hoops, and what not. You may buy good tools 
cheaply. Let your care be in keeping them clean, rust-free, and sharp. 

Do not jump from place to place but do all the work in each part, then go 
over the whole to blend, tie together, and cleanup. 

Do not touch high lights or the denser portions: That only means more 
building up on the other parts. 

Do not put the eyes too close to the work. Look at what you are doing, not 
through it. 

Do not work too steadily or intently, but rest the eyes frequently by looking 
at other things and longer distances, and mind and muscles relaxed. It is 
astounding how often the amateur retoucher, yes, and sometimes the profes¬ 
sional, work into a constrained, tense, condition, which evinces itself in the 
work by stiffness and palpable doctoring. 

Pinholes and clear spots should be well coated with the dope, varnish, 
medium or what you choose to call it. With the softer pencil, Say H, fill in by 
making dots until the density is brought up to the surrounding parts. 


54 


PHOTOGRAPHIC WORKROOM HANDBOOK 


Wrinkles should be worked out by lines having a general direction parallel 
to the clear part to be covered. These lateral lines may be tied together with 
cross hatching or zig-zag. 

The eyes are the most difficult task and unless retouching is imperative leave 
them alone. Personally I should in the most urgent case let someone else Jo 
it. Years of experience have perfected eye retouchers but no book can give 
the reader that experience. 

Etching may be a matter of scraping or of abrading. If the knife be used, 
hold it almost at right angles or at such a slant that the surface shall be scraped, 
not cut. Rubbing with alcohol or a more effective abrading with Putz Pomade, 
Globe Polish, or the following composition will be found all that could be 
desired. 

Flowing a Ground Glass Substitute or Varnish over the glass side or the 
non-emulsion side of a film will enable one to retouch on the backs of nega¬ 
tives. Ground or Matted Celluloid may be bought. Watch for scratches and 
clear spots and reject any not perfectly even in the matting. With a touch of 
glue in each of the four corners fasten a piece of this, cut to size, to the back of 
the negative with the Matt side out. Retouch on this. 

Or buy some of the best grade architects’ tracing paper or Papier Mineral 
and glue on as above. Retouching may be done on this. This wrinkle is es¬ 
pecially advisable in practicing retouching, since the negative remains in its 
original condition and after proofing, the paper may be torn off, another substi¬ 
tuted and new attempts be made. 

RETOUCHING DOPES 


I. 

Alcohol. 3 ounces 

Camphor... ounce 

Sandarac... ounce 

Venice Turpentine. 1/5 ounce 

Oil Lavender.3/20 ounce 

II. 

Turpentine... 2 ounces 

Rosin. 40 grains 

Balsam Fir. ^ drachm 

Chloroform. 30 drops 


RETOUCHING ABRASIVE 


Impalpable Carborundum Powder. 2 parts 

White Mineral Oil. 6 parts 

Alcohol. 1 part 

Synthetic Rose Oil.1 part 


The mixture when stirred should make a thick, treacle-like mass. If too 
thin add more powder. To use stir and take a very little on a rag pulled 
tight over the finger tip. Rub the spot to be reduced gently but briskly. If 
much surface is to be removed take a clean part of the rag and fresh 
abrasive now and again. 















PHOTOGRAPHIC WORKROOM HANDBOOK 


55 


For small spots use a stomp or make one. The cork stomp of Crayon Artists 
is especially useful. 

Finally: Study much, practice conscientiously, make occasional proofs— 
do not get discouraged. 

Urgent and Important: Do not over-retouch. Know when to stop and stop. 

DEXTRINE SYRUP 

Yellow Dextrine 4 ounces, cold water lYi ounces, mixed to a smooth emul¬ 
sion, then brought to a boil in a double boiler and stir continually. When com¬ 
pletely dissolved add 1H drams formaldehyde. Keep in sealed jars for use in 
making Opaques and such pigments. 

OPAQUE 

Take any good grade of Mucilage or Photo Paste and mix enough lamp¬ 
black and Red Lead to make a stiff paste. Now add just enough Glycerine to 
keep it moist and to avoid mould stir in a few drops of formaldehyde. This 
is the approved formula but I have found a quicker drying compound advan¬ 
tageous. This is achieved by using half and half of water and alcohol instead 
of just water to obtain the needed consistency. The Photo Miniature gives 
this—and it works well: Mix dry, fine rouge 4 ounces, with 1 dram of lamp¬ 
black. Work into a paste with equal parts Alcohol and water % ounces, add 
3 ounces of the dextrine syrup (.see above) and when completely smoothed add 
10 drops Oil of Mirbane (Nitro-benzole). Keep well covered and sealed to 
prevent evaporation. 

RE-TOUCHING DOPES 

1. Take Venice Turpentine and thin it to desired consistency with water- 
white spirits of Turpentine. 

2. Dissolve 1 dram of Rosin in 1 ounce of Turpentine and 1 ounce of Ben¬ 
zine. If too thick add more Benzine. If too thin add more Rosin. When of 
the proper consistency add ten drops Poppy Oil. 

CELLULOID NEGATIVE VARNISH 

Boil the gelatine from old films or film scraps. Take the cleaned celluloid 
and cut into small pieces which dissolve in Amyl Acetate. Put as much of the 
celluloid in as will dissolve in the course of two or three days, with occasional 
shaking. A thick syrupy liquid will result. Thin this to water consistency 
with the Amyl Acetate and strain. This makes a splendid varnish for plates 
if poured on and drained by one comer, quickly. The plate must be absolutely 
dry or a white bloom will result. It is also good for dipping prints which then 
become waterproof and virtually unscratchable. Furthermore it is the liquid 
known as Banana Oil or Gold Paint Medium used in mixing bronze paints. 

SCRATCHES ON GLASS 

Flowing a thin film of Canada Balsam over a warmed plate of glass will 
generally render scratches photographically invisible, or another clear glass 
plate cemented on with the Balsam will go further in obliterating the blemish. 


56 


PHOTOGRAPHIC WORKROOM HANDBOOK 


THE DARK ROOM 

The British are particular in having their dark-rooms literally dark and it 
is a common custom to load plate-holders and at least start development in 
absolute darkness. The Germans have investigated safe-lighting and commonly 
the dark-rooms of the continent are well illuminated by screened or what is 
known as indirect lighting filtered through chemically safe films mounted be¬ 
tween glass. In America there is still much carelessness and many dark-rooms 
are to blame for fogged plates and papers: the blame being too often passed 
on to the manufacturer. This, notwithstanding that the Eastman Kodak 
Company have put lanterns, lamps, filters and so forth on the market which 
are really safe. The Wratten filters, the Agfa filters and some others may be 
accepted as perfectly suitable. 

Colored glass in reds and yellows may be safe and may not, certainly green 
as marketed in the flashed plates is not safe unless made especially for photo¬ 
graphic use. That more harm is not done is due to luck and the fact that 
instinct makes even indiscreet workers hide the sensitive materials from the 
direct light till they have been in the developer long enough to have become 
comparatively insensitive. 

A good dark-room must be absolutely light-tight. If after staying in the 
chamber for five or ten minutes you can detect a glimmer of light entering 
through however minute a chink, decide to remedy that then and there. 

Ventilation is not only a matter of health, which is of prime importance, but 
the chemical reactions are to be relied upon only when the air is not con¬ 
taminated with gases from the material used, by-products of the human con¬ 
sumption of oxygen and exhalations of carbon dioxide. A free ingress and 
egress of air, too, helps to carry off vapors from volatile chemicals which in 
the rush of work even careful men too often leave uncorked on the table or 
shelf. Photo Miniature number 82, Dark Room Work (Tennant and Ward), 
and certain free literature issued by the Eastman Kodak Company, the Agfa 
Handbook, Wellington and Ward and in fact most of the makers of plates, 
films and papers, will give the reader minute information and designs which 
should clog up these pages. 

Space should be ample to turn freely and give elbow room so that breakage 
and spilling be avoided and comfort be gained. 

Cleanliness is, of course, imperative. Dust makes for pinholes in negatives 
at time of loading and before and during development. The bacteria in dust 
settles on boxes, finds its way into the covers, breeds on gelatine and the rapid 
deterioration is sure to follow. 

Dryness is hardly possible where much water and solutions are used, but 
may be approximated to within safe bounds by proper drainage and the 
practice of emptying all trays and covering all tanks when not in use. In fact, 
the covering of solutions makes them keep and is one more aid in obtaining 
the perfect results which are aimed at. 

Sweeping is best done with a hair floor brush which has been dipped in what 
is known as floor oil or the cheaper Golden Machinery Oil used for lubricating 
purposes on fine but large machines. Such oil with, say, one percent of Pine 


PHOTOGRAPHIC WORKROOM HANDBOOK 


57 


or Cedarwood oil added gives a product that is sanitary, insecticidal, and 
agreeable. It makes a splendid polish for waxed floors and furniture if a further 
addition be made of floor wax in solution. Floor wax in the paste form dis¬ 
solves readily in turpentine or Naptha and an ounce thus dissolved in two 
ounces of the solvent and added to a quart of the oil mixture given above will 
give as fine a polish as can be bought. 

Work Tables, Cupboards, and Shelves—in fact all woodwork should be 
painted. Formerly black asphalt was specified. It has been found that the 
reflected light is no more actinic than its source and that white walls and 
woodwork are just as safe in a safe light and more comfortable than black. 
For such as still prefer black there is no better waterproof, acid-proof, but not 
alcohol, turpentine, or Naptha proof covering than Probus Black. For White 
any good flat white for a filler or better a filler of boiled linseed oil followed 
by a coat of flat white, a second coat of white lead in oil properly thinned with 
turpentine and some varnish for body, and a final coat of one of the modern 
cellulose enamels will be found to be “De Luxe” and durable. As this goes 
to press we are informed that a White Probus will soon be on the market. The 
sample given us for our severest tests was found all that it should be, though 
a trifle thick for ready brushing. 

Sinks should be of wood, roomy, not too wide or deep, but as long as space 
permits. From front to back, 30 inches should be the maximum, and about 
10 inches deep. If possible have all inside comers and edges finished with a 
quarter-round moulding concave, so that cleaning be easy and thorough. And 
be sure the joints are rabbited or otherwise so jointed that when set in white 
lead or plastic cement they be watertight even before painting. The preference 
seems to be for black sinks though my white finished one gives me a comfort 
and facility in working that was lacking when I worked in a black one. The 
length should be such as to allow of at least two taps and these should be at 
least two feet from either end and an equal distance from one another. If you 
can find room for three or even four taps so much the better. One of these taps 
should have a convenient length of tubing which being flexible, may be used 
to fill and rinse trays or submerge to provide a flow upward from the bottom 
of trays or tanks. If you have three taps have another shorter length of rubber 
tubing attached with a spray device to spray off negatives after fixing and 
before drying. 

The height of the sink from the floor should be determined by the height at 
which the worker can proceed most comfortably. The tallness or shortness of 
the person interested and not the fixed rules of the carpenter should be the 
determining factor. 

Drainboards at each end of the sink are of the greatest importance, though 
if the choice be imperative between drainboards and longer sinks, the longer 
sink is to be preferred. This drainboard should be grooved to drain inverted 
graduates, trays, etc., and should therefore slant slightly toward the sink. 
Speaking of slants it might be well to have the sinks themselves tilt slightly 
toward the back right or left corner where the outflow is. I warn the reader 
against an outlet placed in centers: Water collects in pools at the corners and 
must be wiped to the drain. Sinks have been made with screened or latticed 


58 PHOTOGRAPHIC WORKROOM HANDBOOK 

bottoms, but these are generally a nuisance. A smooth bottom is easiest kept 
clean and being of wood will be no more likely to cause breakage than the 

wooden screening. 

A shelf at such a height as to clear the head when leaning over the sink, 
and yet handy to the reach on the wall back of the sink is invaluable for 
having the bottles, etc., continually in use and for putting a thing out of the 
way while working. An inch batten or some other device for making a 
raised edge to this shelf will keep the things put upon it from sliding off 
or furnish you with a clue as to whether you have put the bottle or grad¬ 
uate on the shelf or partly in the air. If there be a window have it so 
recessed that no splashing will soil the pane and no bottles fall 
through it. 

Graduates are safest kept inverted on pegs just long enough to clear the edge 
of the glass from the shelf by a quarter or half inch. This allows draining off 
the last drops and facilitates air drying. Pegs are convenient for funnels, but 
should be cone-shaped so that wedging and cracking through expansion be 
averted. 

Should facilities be at hand, hot water is invaluable and this may be piped 
to the sink or a corner be set apart where a Bunsen burner and the proper 
support for a kettle be ready for need. 

Lay nothing down that can be hung up, even for a moment. Have plenty 
of brass hooks conveniently placed which paint as you have the woodwork 
and on these hang paddles, and whatever. Stirring rods can be elegantly dis¬ 
posed of in a rack made of a narrow board bored with round holes a little 
larger than the diameter of the rods and another piece of wood of the same 
size to support the glass cylinders on end. This device can be made from the 
thin ends of a cracker box. It will be found, not a makeshift, but a real appur¬ 
tenance, lending its influence to smooth and efficient working. 

The arrangement of shelves, cupboards, sinks, loading tables, etc., should 
be studied out in advance. Go through the motions of the entire series of 
operations as you expect to perform them and plan to so place the fixtures as 
to save steps and produce access, and availability. I have seen a dark room 
where the worker unloaded his plates next to the sink and swore frequently 
at finding the empty plateholders splashed with water and hypo, and in one 
studio the unloading was done so far from the tanks that a dozen chances of 
accident were rendered possible and certainly a dozen steps that might have 
been saved were expended between one and the other. 

If the floor is to be of plain boards, by all means paint it with a good 
floor paint. If you feel you can and are willing to afford a covering, use cork 
carpet and not patterned oil-cloth or linoleum prints. One of the best and 
cheapest dark-room floor-coverings is the heaviest sheet roofing to be obtained. 
The rolls come in various widths and weights. Choose that width which will 
avoid any seams or which will enable you to place the joints in places where 
they shall be least exposed—under shelves and tables, but not under or around 
the sink. This covering will be as waterproof and last as long as cork covering 
costing many times the money. 

The entrance should be a double door arrangement so contrived that one can 
be opened only when the other is tightly shut. I have seen one so made by a 


PHOTOGRAPHIC WORKROOM HANDBOOK 


59 


simple lever which was raised and released the opposite door after the first 
was closed. A commoner method is to have a labyrinth or maze entrance, a 
simple arrangement with a door at each end of a passage that turns twice 
around a midway partition. You enter one door and turn to the right about 
two feet further than the door opening, then stepping around the partition 
mentioned you turn to the left an equal distance and find the second door. 
Even when both doors are left open the liklihood of light passing around 
the corners in small. But this danger may be removed by hanging a heavy, 
dark drapery over the passage where the turn occurs. Paint the inside of 
both doors and the walls, floor, and ceiling of this passage black to avoid 
light reflections. 

These directions are general and are given as a hint. The best advice is to 
use your head more than any book. The amateur generally must content 
himself with what his home affords and his family permits. The professional 
will have his own ideas and proceed according to his better light anyway. 
This chapter is offered as a starting point. 

EBONIZING 

Sandpaper any semi-hard or hardwood. Brush over 10% solution Potassium 
Bichromate made with hot water and brushed on hot. Use sparingly. When 
dry apply saturated solution Gallic Acid. If not black enough repeat with 
both solutions. 

For French Polish, oil. For Gloss, varnish and rub. 

CLEANER FOR BRASS 

Dissolve off the lacquer with alcohol and cleanse of all grease in strong lye- 
water, then apply the cleaner with a swab or mop and let it dry in, then polish 
off the powder with a soft rag. 

Whiting. 1 ounce 

Water. 5 ounces 

Alcohol. 1 ounce 

Oxalic Acid. 10 grains 

Mix the whiting with half the water until it is well in suspension; do the 
same by dissolving the Oxalic Acid in the other half of the water: Mix in 8 
ounce bottle and add the alcohol. To use, shake well and apply as directed. 
Warning: Do not get lye-water or any solution containing Oxalic Acid on the 
hands, especially if they be scratched. 


BLACKENER—Brass and Copper 


A Copper Nitrate. 200 grains 

Water. 1 ounce 

B Silver Nitrate. 200 grains 

Water... 1 ounce 


Mix and immerse the scrupulously cleaned brass. Remove, heat and polish 
with a little oil and soft rag. 










60 


photographic workroom handbook 


BLACKENING BRASS 

Water. 20 ounces 

Lead Acetate. 1 ounce 

Hypo. 1 ounce 

Boil and dip the brass until black. Rinse in cold water, polish and lacquer. 


PHOTOGRAPHING SHINING METAL 

Polished metal may be prepared by burning some of the usual Flashlight 
mixtures on an open tin plate. The fumes leave an even white bloom on 
everything. When this is worked properly it is superior to rubbing on putty 
or lead painting and it can be cleaned off much more easily. 


SHELLAC—Water Solution 

Borax. 1 ounce 

Water. 16 ounces 

Shellac. 5 ounces 

Boil the borax in the water; when boiling add the shellac and boil until dis¬ 
solved. Filter after cool and settled. If water has evaporated thin with water 
to make 20 ounces. 

FOR NEGATIVES 

When fixed and washed while still wet put into a tray of the above and rock 
as for developing for 10 or 15 minutes. Wipe the glass side dry and put on rack 
to dry. 

FOR PRINTS 

Spray on with blow pipe atomizer or dip and drain. 


CLEANER—Nickel Plating 


Swab on: 

Alcohol. 98 parts 

Sulphuric Acid. 2 parts 


After a few seconds wash off, then swab off with plain alcohol and polish 
withVsoft cloth. 

Brass 

Water. 1 ounce 

Whiting. yi ounce 

Oxalic Acid. 10 grains 

Dissolve the Oxalic Acid in the water. When dissolved add the whiting and 
mix to a smooth paste or shake until evenly suspended. Do not let this come 
in contact with the skin. When dried on the brass, rub off and polish with a 
soft rag. 

Glass and Bottle 


Water (hot). 10 ounces 

Potassium Bichromate. % ounce 

When cold add slowly: 

Sulphuric Acid. yi ounce 
















PHOTOGRAPHIC WORKROOM HANDBOOK 


61 


MEDICAMENTS 

CAMPHENOL SULPHUR 
For Barbers* Itch, Eczema, Metol Poisoning, Etc. 


Lanoline (Lanum Dehydrated). 1 ounce 

Phenol Crystal.. 15 grains 

Camphor. 45 grains 

Sulphur. 3 drachms 


Dissolve the camphor in 1 drachm alcohol, add the Phenol in a glass 
pestle, add the Lanum dissolved by gentle heat to this and when the 
mass has been made into a soft mixture add the sulphur a little at a 
time and work to a smooth homogeneous paste. 


ICHTHYOL 

Lanoline. 1 ounce 

Camphor. 45 grains 

Ichthyol... 20 grains 

STAINED FINGERS 

Water.16 ounces 

Sodium Sulphite. 4 ounces 

Sulphuric Acid. 1 dram 


Take half an ounce of this and add 4 ounces of water. With this in a bowl 
at hand you may dip your fingers into it occasionally, or when washing up use 
it freely with sand-soap, Sapolio, Bon Ami, or whatever. The Pyro stain 
vanishes like magic. 


LIBRARY PASTE 


White dextrin. 2}4 pounds 

Water 160 degrees F. (Important). 2 quarts 

Oil Wintergreen. 0.8 cc. 

Oil Cloves. 0.8 cc. 


Keep at 160 degrees till mass turns to a translucent jelly. Strain through 
muslin and bottle. 


VEGETABLE GLUE—Very Fine 


Picked Clear Senegal Gum... ounce 

Dextrin (White). 2 % ounces 

Spirit Camphor. 4 drachms 

Am monia . 4 drachms 

Water. 8 ounces 


Pound gum with dextrin to a fine powder in mortar, then rub up to smooth 
paste with a little water at a time, then heat at 160 degrees for about ten 
minutes and when partly cooled put in a jar. Add the camphor and ammonia 
when pretty well cooled and just before putting in jar. DO NOT heat Ammonia 
and Camphor. 






















62 


PHOTOGRAPHIC WORKROOM HANDBOOK 


ETCHING ON GLASS 


A 

Sodium Fluoride. 


60 grains 


Potassium Sulphate. 


12 grains 


Water. 


1 ounce 

B 

Zinc Chloride. 


14 grains 


Hydrochloric Acid. 


65 min. 


Water. 


1 ounce 


Mix in equal quantities just before use. For writing on glass use a quill. By 
dissolving gelatine and putting a proper amount of the above in the solution 
the glass may be coated on one side, allowed to set, when the surface will be 
found to mat in a few days. 

GROUND GLASS SUBSTITUTE OR VARNISH 

Dissolve 90 grains Gum Sandarac 

20 grains Gum Mastic 
in 2 ounces Ether 

then add 1 ounce Benzole 

The Benzole may be decreased or increased to produce finer or coarser grain. 
The plate to be made into ground or matt finish must be cold. 

INKS 

LABEL INKS 

Water. 1 ounce 

Pyro and Sulphate Iron.equal parts each q.s. 

FOR GLASS, CHINA, ETC. 

A Water. 5 ounces 

Borax... ounce 

Boil together and when dissolved add: 

B White Shellac 1 % ounces and boil until shellac is dissolved. 

Cool and add aniline color to suit. 

FOR PRINTS OR NEGATIVES 
Bleaches out the silver and shows writing in white. 

Write with ordinary pen. 


Potassium Iodide. 2 ounces 

Iodine. 90 grains 

Gum Arabic..'. 90 grains 

Water. 6 ounces 


DRY MOUNTING ADHESIVE 

Boil for 5 minutes 5 drams of Borax and 1 dram Sodium Carbonate in 7 
ounces water, then add 2 ounces bleached or white shellac and continue boiling 
for about 5 minutes more. Keep surface skimmed free of scum. Let cool and 
bottle. This may be brushed on both sides of tough onion skin paper to make 
Dry Mounting Adhesive Tissue, or painted on the back of the print. To make 
it adhere apply a hot flat iron. 
















PHOTOGRAPHIC WORKROOM HANDBOOK 


63 


COPYING TO OVERCOME HALF-TONE SCREEN 

Put a sheet of very pale blue glass about an inch in front of the print to be 
copied, taking care that it be on a perfect plate and make a reduced size nega¬ 
tive. Enlarge to desired size from this. Focusing may be sharp. 

WAXING SOLUTION FOR PRINTS 


White Japan Dryer. 4^ ounces 

Turpentine. 6 ounces 

or 

Oil of Poppy.2 drams 

Oil of Cloves. 1 dram 

Turpentine.10 ounces 

Benzine. 5 ounces 


or 

10 parts of any good Floor Wax softened in a double boiler to which 2 parts 
Turpentine and 2 parts Japan Dryer are added. 

Apply all of these with a soft, lintless rag and gently rub in. Do not use 
any of them too liberally. Just enough is plenty. 


TRANSPARENTIZER—Papers 

1. Vaseline on wrong side and rub in with a clean rag. Iron by putting a 
sheet of clean paper over and use a moderate hot iron. 


2. Castor Oil. 1 ounce 

Alcohol. 4 ounces 


3. Equal parts of: Canada Balsam 

Oil Turpentine 

4. Common Coal Oil, well brushed on and allowed to permeate, will serve 
till it evaporates when it may be renewed. 

5. Soak at 176°F. till saturated: 


Paraffine.... 4 parts 

Linseed Oil. 1 part 


Dry at once between lintless blotters. 


6. Soak overnight in: 

Castor Oil. 8 parts 

Canada Balsam. 1 part 


Drain, gently wipe with lintless rag, hang up to dry where there is no dust. 


7. Terebenthine. 14 grains 

Light Rosin. 40 grains 

Gum Dammar. 40 grains 

Camphor. 3 grains 

Paraffine. 14 grains 


Use water bath. Beware of fire. 


PAPER NEGATIVES 

Any of the above will render thin papers sufficiently translucent to serve as 
negatives. 



















64 


PHOTOGRAPHIC WORKROOM HANDBOOK 


DECKLE OR FEATHER-EDGE PRINTS AND MOUNTS 

Sandpaper, files, and rasps have their drawbacks and the use of a saw 
wastes paper. If abrasive paper be preferred to the wrinkle given below the 
best for the purpose is Number 2, E Garnet paper. 

For the best method to provide yourself with a Carborundum Tile or Ter- 
razo Stone Number 16, H. Put the mount or print on a tough piece of card¬ 
board and both on a strip of wood—any old cardboard and any old bit of 
wood will do, so long as they have true, straight edges. Jog print or mount 
and these supports to an even edge and rasp with the stone. If a coarse 
deckle is desired use the coarser side of the stone, if a hand-made paper effect 
is wanted use the finer side. 

This will enable you to buy your cut cards of the desired size and to have 
them deckled on lower end, top and bottom, or all four sides. You may even 
find it a pleasing novelty to feather-edge your prints. If so, work with the 
print face down and rasp it from the back. 

v -• ' x 

GRADUATED BORDERS 

Substitute ground glass celluloid for the opaque paper and glue on mask to 
make the white margin. Put in the opaque center and glue down. You now 
will have a mask that will give two tones of gray with a clear center in which 
to print the portrait by second exposure. 

HINT 

Make the opening in the mask which you use to expose the portrait a trifle 
larger than the opaque center so that the printing laps over. This will assure 
a freedom from white lines due to slight faults in register. 

NOTE 

The directions are complicated when read but by proceeding step by step 
you will find it works out easily. 

VIGNETTING 

To avoid pasting on cut-outs or cotton batting, block out a glass side of 
negative with any reliable opaque and soften edges of the paint to desired 
outlines. This permits use of the printing machines on which the negative is 
placed face up or down. 

MASKS FOR DOUBLE PRINTING 

These are best cut by putting two sheets of opaque paper together and cut¬ 
ting the opening through both. The cut out rectangles are carefully kept and 
an exactly equal strip cut off top and side to leave the needed opening. The 
opening in one of the two masks is now enlarged by accurately cutting the 
same strip out of the opening on the four sides. Adjust carefully and trim to¬ 
gether. Put into a printing frame registering against top and left side. Apply 
glue and press a sheet of glass down on it. The center square may now be 
glued down to make the desired border effect. The smaller mask may bejused 
for double printing the portrait. 

Ready-made masks may be bought of any photo dealer which offer a number 
of designs, but fancy borders are bad taste, as a rule. 



PORTRAIT BY J. ANTHONY BILL 


This is the color obtained by Sulfide Toner, Page 34 



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PORTRAIT BY J. ANTHONY BILL 
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66 


8 






PHOTOGRAPHIC WORKROOM HANDBOOK 


67 


THE COMMERCIAL PHOTOGRAPHER 

It is not in the province of this work to enter into the innumerable devices, 
many of them invented as needed, used in the production of Commercial 
pictures. What has been said of dark-rooms, etc., applies here, but cameras, 
lenses, equipment in general must fit the particular class of work determined 
upon. The cameras will, naturally, be of the portable sort with every adjust¬ 
ment, and the lenses of greater variety, long and short focus, wide angle and 
so forth. 

The workrooms will be larger and means of copying, reducing, enlarging, 
storing merchandise, mounting machinery, shading objects from reflections, 
shelving at visual angles, and what not, must be provided. 

The work will have to be done with more speed than in a portrait establish¬ 
ment and so the working tools will be designed for speed. The printing frames 
and printing machines will be made for quick action. The enterprising 
photographer who enters this sort of work must be awake to what is being 
offered by the manufacturers. Time is money to a Commercial Photographer. 
His overhead must be assimilated by efficiency and up-to-date machinery, if 
we may call it that. 

In such an establishment Inventory is a real need. Financial disaster has 
come to many a Commercial Photographer through waste in the stock room. 

He must strive for volume and quick turnover in order that his necessarily 
large plant may work to capacity and that he may buy in quantity. 

As his business grows by publicity and that publicity comes from being 
oftenest in the public eye with his output, he must have many customers and 
means of exploiting his prints. 

But, above all, a reputation for good work and fair dealing is the greatest 
asset. 


CUTTING-MACHINE LIGHT 

An ideal arrangement is to have the cutting table open and covered with a 
sheet of very heavy plate glass, preferably frosted on the under side with 
ground-glass varnish or a thin white paint. The top light shows the outlines 
of the prints and lights properly disposed under the glass of the table will 
throw the shadow of the straight edge of the cutter up through the print so 
that accurate margins may be cut. 

SPEED OF PLATES AND FILMS 

There is, of course, an inherent ratio of speed in sensitive material, but to 
all intents and purposes, in these days of latitude of emulsions, speed is that 
inherent value, plus light-value of subject, plus temperature and nature of 
developer. As for instance: 

Standard Orthonon. Bluish gray day, given aperture re¬ 
maining the same, exposure the same: 

Developer Metol.68° F. fully exposed 

Hydroquinon. 70® F. rather contrasty 

Hydroquinon.. 60® F. underexposed 





68 


PHOTOGRAPHIC WORKROOM HANDBOOK 


Nor will the rule of sufficient time in the developer compensate. Denser 
plates disguise the defects in that papers are chosen to fit the negative. 

The useful deduction is to standardize your developer for the general pur¬ 
pose to which you apply photography and expose according to the developer 
you use. 

Copying calls for contrast. 

Commercial work demands clearness and detail, but snappy withal. 

Pictorial should be rather thin, soft and with minute care as to values. 

For each consider the exposure as the first step, the results of which shall 
not only govern but be governed by the nature and temperature of your de¬ 
veloper. 

Let me reiterate: Standardize. 

Experiment to your hearts content as a pastime or for instruction but when 
you settle down to work find yourself equipped to know what the purpose of 
each exposure shall be, what the developer is going to be to further that pur¬ 
pose and what the ultimate print is for: Then expose accordingly. Your light- 
gauge, exposure-meter, and what-not may be a valuable assistant, but 
your own brains must be the master. 

COPYING METHODS—Exposure 

In Photo Miniature Number 196 (Tennant and Ward), the following is as 
complete and concise as can be wished: 

Avoidance of Grain 

The texture of the paper, abrasions, etc., are exaggerated by top or side 
lights. The best means of avoiding all grain is to illuminate from both sides 
with Cooper-Hewitt tubes of a length equal to that of the copying board or 
easel. Next in efficiency are the long tubular Mazdas placed top and both 
sides. These should be about as far from the plane of the copied article as the 
diagonal of its dimensions, and all lights must, of course, be shaded on the side 
facing the lens. 

HALATION 

This phenomena is variously attributed to reflection from the back of the 
plate and to irradiation within the emulsion itself. It is probably due to 
both—to the former for the most part and somewhat to the latter. It evinces 
itself when strong fight is photographed against a relatively less actinic sur¬ 
rounding. 

Manufacturers make what they call Non-halation or Anti-halo plates with 
backs thereof coated sometimes with a soluble composition like caramel, pig¬ 
ment, or red dye suspended in gum and sometimes by pasting on a sheet of 
non-actinic, non-reflecting paper which dissolves off in the developer. Lumiere 
first conceived of coating the sensitive emulsion over a substratum of red gela¬ 
tine which is discharged in a bisulphite or hydro-sulphite solution after fixing. 
Lately matted or ground glass backs and matted or ground glass substratum 
have been utilized on both glass and films. 

By these means the worst halation is avoided, but the blocking up of high¬ 
lights and detail goes on. Daylight windows show no sashfines and the cur¬ 
tains hung against the fight lose their pattern. 


PHOTOGRAPHIC WORKROOM HANDBOOK 


69 


Halation can be remedied in such slighter cases in the development by using 
clear-working hydroxide developers. I worked out a Glycine-hydroxide de¬ 
veloper which differs from 'the Hubl formula in its proportions and seemed to 
work better over a variety of plates, films and bromide papers, but it was re¬ 
ceived with such a salvo of enthusiastic praise and heated condemnation that 
I have reprinted it elsewhere in this book for what it may be worth to the in¬ 
dividual. It virtually eliminated the inter-radial halo for me in over 80 per 
cent of my experiments. 

A mechanical means, very simple and effective, is to rub down the affected 
part with a clean, soft rag dipped in Alcohol. Just draw such a bit of muslin 
over the index finger, wet it with Ethyl or Methyl Alcohol which is known to 
have no water in it, and gently but briskly rub the density down until detail 
is visible and the printing value is equal to the remaining surface of the nega¬ 
tive. 

The abrasive I devised and which is given elsewhere in this book will be 
found to work infinitely quicker and more effectively. It leaves the plate 
cleaner than metal polishes, emery-powders, and such things, and requires no 
cleaning-up except a gentle wiping off with another part of the same rag. 

COPYING 

ON PROCESS FILMS OR PLATES 

Expose F16—5 times—Barre screen. 

9 minutes. Use tank developer. 

Same—No screen. U. S. 32 F —2 minutes. 

ON COMMERCIAL ORTHO FILMS OR PLATES 

Same but expose as long. 

PORTRAIT FILM OR PLATES 

Same but expose 1/6 as long. 

TO OVERCOME HALF-TONE SCREEN 

Put a sheet of very pale blue glass about an inch in front of the print to be 
copied, taking care that it be on a perfect plate and make a reduced size nega¬ 
tive. Enlarge to desired size from this. Focusing may be sharp. 

An old fashioned way was to stop down to f32 and while copying the half¬ 
tone print gently to tap the easel on which it was pinned. The slight vibration 
kills the screen. 

COPYING WITH SCREENS OR RAY FILTERS 

When copying violet on white ground use Panchromatic plate and Green 
(B) Tri-color Wratteh filter. 

Blue Prints, Panchromatic plate and “A” or “F” Wratten Yellow Paper or 
age stain, Panchromatic plate and “G” or contrast filter. 

Potassium and Sodium Salts may be used interchangeably and be accepted 
as of equal strength. 

COPYING STAINED PRINTS 

Lay a screen of the color of the stain over the print or look through the filter. 
If the stain is invisible or almost so, that is the proper screen or filter. Use 
Panchromatic Plate or Film. 



70 


PHOTOGRAPHIC WORKROOM HANDBOOK 


PANCHROMATIC PHOTOGRAPHY 

Eastman Kodak Company, Cramer Plate Company, Wratten and Wain- 
wright, Agfa Company, Wellington and Ward issue free books on Ray Filters 
and their use. These may be had for the asking and cover the subject. 

The Eastman Kodak Company sell for a nominal sum a Test Chart consist 
ing of a series of color filters mounted on a card with data printed thereon. 
OX-GALL GLAZING SOLUTION 

Buy an Ox-Gall at the slaughter house or through your butcher and 
empty the same into a quart jar. It will give about 6 ounces to which 
immediately add 4 minims of formaldehyde to the ounce, mix thor¬ 
oughly and add 30 minims of Wood Alcohol to the ounce of the mix¬ 
ture and strain through several thicknesses of cheesecloth. This is 
the stock. 

When ready to use again strain off an ounce of the stock and add 
40 grains Salicylic Acid powder which has been dissolved in an ounce 
of very hot water. Add this very slowly to the gall, stirring continu¬ 
ally, then filter again, now add four ounces of cold water. 

To use: Dip a sponge or lintless rag in the above, wring out just 
enough to avoid dripping and swab freely the glass or ferrotype plate, 
or celluloid sheet leaving the moisture well distributed over the sur¬ 
face and slap on and squeegee the glossy prints. If the last wash 
water has been warm the gloss will be higher, and there will be less 
liability of bubble spots. 

EXPOSURES 

A “Ray Filter” is recommended for all subjects in groups “A” and “B”. 

Shady banks, ravines, glades and under trees in full foliage require from 4 
to 24 times more exposure than group “C.” 

Exposures for larger or smaller stops can be easily calculated from this 
table by keeping in mind the rule by which all stops are marked—each suc¬ 
ceeding smaller stop requires twice the exposure of the one before it. Ex¬ 
ample: If 1 second is the correct exposure for stop 8, 2 seconds would be re¬ 
quired for No. 11, four seconds for No. 16, etc. The same rule applies 
when using larger stops, but the exposure is then made one-half of the 
succeeding smaller stop. 

These exposures are averages so calculated that the table will be a good 
guide on sunny days in winter as on days of summer sunshine. When the day 
is hazy about twice the exposure should be given. This is easily done by using 
the table below the one in which the subject is listed. 

When using Box Cameras and other Fixed Focus, Single Lens Cameras of 
the folding type that do not have the stop markings sl*own in these tables, 
the exposure should be: 

Group A. Make Snap Shots through the next smaller stop than the one used 
for ordinary Snap Shot work. 

Groups B and C. A Snap Shot with the stop ordinarily used. 

Group D. Very satisfactory Snap Shots can be made with the Box Cameras 
on cloudy days with the subject under the open sky. Landscapes can easily be 
made, providing the clouds are not too heavy. Most satisfactory pictures of 
groups and near objects are made with the camera rested on a tripod or some 
other firm support and an exposure of ^ to 1 second given. 


PHOTOGRAPHIC WORKROOM HANDBOOK 


71 


FRILLING 

Frilling may be avoided by rubbing a cake of Paraffine along the edge of the 
plates before developing, taking care that the wax covers the point at which 
the emulsion and the glass end. It seals the joint and prevents the solutions 
from getting under. 


AIR BRUSH 

COLORS 

Alizarin-scarlet, Rose-madder, Antwerp-blue, French Ultramarine, Prussian 
Blue, Burnt Sienna, Raw Sienna, Bistre, Vandyke Brown, are permanent and 
transparent. 

Vermillion, Hookers’ Green, Chrome Lemon, Mauve, Crimson Lake, Sky 
Blue, Raw Umber, Venetian Red, are useful. 

Snow-White, Reproduction White, Silver White, are opaque and free from 
lead, thus assuring that they will not blacken under the action of light and air. 

FIXING 

Gum Water is both a serviceable fixer and scumbler. It ties the dots to¬ 
gether and smoothes the whole. Make a solution thin enough to flow freely 
and spray without clogging or blobbing. 

DYES 

Aniline dyes of the Diamond or Rainbow Household Dye sort, or in quanti¬ 
ties from the American Dye Corporation, Metz and Company or Hoechst, will 
make wonderful and lasting colors for air-brush work. 

To dissolve dyes take the required quantity of the dry powder and in a 
china cup mix it to a consistent paste with a little cold water. When there are 
no lumps left and all is moist and smooth add enough boiling water to make a 
concentrated solution. To this add about 5 minims Acetic Acid, and one drop 
Oil of Cloves to each liquid ounce and keep in brown bottles. To use dilute to 
required tint. 

These colors may be mixed save in a few rare cases in which the chemical 
combination spoils both ingredients. 

CRAYON EFFECTS 

The finest grade of lamp-black mixed to a paste and then thinned with more 
water will dry on the print like crayon but, also, if not protected by glass will 
rub like crayon or charcoal. 

CLEANING THE AIR BRUSH 

Clean your apparatus after each use by blowing clean water through it, fol¬ 
lowed by a little denatured alcohol. A prominent worker does the final clean¬ 
ing with perfume which not only contains the necessary alcohol but serves to 
render the studio fragrant as a spring garden. Any perfume suits the machine 
but your nose and the noses of your customers should be considered. Use 
good perfume. It might be well also to keep all parts dry and clear. 


72 


PHOTOGRAPHIC WORKROOM HANDBOOK 


FITTING A STUDIO 

By the term Studio we shall mean, here and hereafter, the entire establish¬ 
ment which is to be devoted to the conduct of a business for taking and making 
portraits. This shall include the reception room, the gallery or operating room, 
and the dark-rooms, etc. 

The Reception Room should in every way convey to the visitor what class 
of trade is desired. A fifty-dollar-a-dozen reception room might frighten away 
a fifteen-dollar-a-dozen clientele, and a fifteen-dollar room discourage the 
high-price trade. 

Back of the hope to obtain high prices must lie the ability to deliver the 
quality of product, and what is more likely to be overlooked, an education and 
deportment which shall conform to the standards of the people most likely to 
have the money to spend and the willingness to spend it on superior and ar¬ 
tistic pictures. 

We shall not enter into furnishings here. That matter lies in the province 
of interior decorators, and furniture shops. 

The Gallery or Operating Room, whatever the price to be charged, must be 
roomy enough to allow the camera to be moved from ten to fifteen feet from 
the subject and we dare affirm a free space of thirty feet is not too much. 

In these times when overhead, flood, spot, and every other sort of artificial 
light may be had on short notice, it may seem superfluous to speak of side¬ 
lights and skylights, but the ambitious and conscientious worker will be glad 
to have these available in his coming years of practice. 

The manner of obtaining an education in artificial lighting is not from books. 
Literature in plenty and of a sort that is minute and clear can be gotten from 
the manufacturers, also the travelling salesmen are qualified to act as personal 
instructors and are more than ready to be such to prospective buyers. Inform 
yourself on as many contrivances as you can and reserve your decision until 
you have compared then in your own mind and cleared up any doubts that 
arise in thinking over what you have been told. 

The day of the ornate background is past. The most eminent portraitists 
have the fewest props. A plain gray, a plain white, a clouded or mottled, and 
a framework on which may be stretched or hung any rug, drape or length of 
felt is plenty of accessories of this kind. 

An infinite variety of patterns may be projected from in back of the back¬ 
ground itself or from one side of the subject between the sitter and the back¬ 
ground by use of a spotlight and intervening branches, leaves, head-screens, 
and so forth. The angle at which the shadows from them is projected deter¬ 
mining the sense of motion and the composition. Wonderfully beautiful 
effects may be gotten in this way. 

The Camera should be a substantial, thoroughly reliable sort. To expect 
respect and confidence from a patron when he is made to face a dilapidated, 
insignificant box with a scratched lens mount and a tiny objective is a vain 
expectation. The first impression is made in the reception room but the 
psychology of preconceived satisfaction is created by the manner and the tools 
of the operator. 


PHOTOGRAPHIC WORKROOM HANDBOOK 


73 


The Lens, if only one, should be a high grade anastigmat working at least at 
f4.5 and preferably at f3. With such an objective diffusion may be gotten 
with any of the supplementary devices now on the market. Diffusion disks 
are absolutely effective and practical. When two or more lenses can be 
afforded one should add one that can take full lengths and groups without 
moving into the next room to get inclusion. And, let us say, one of the ultra 
rapid diffusion type for special purposes. 

The preference for large plates remains with many leading photographers 
but not a few of the great standardize in five by seven and enlarge to sizes as 
ordered. 

There is some loss in using small plates. Unless the operator can visualize 
in advance what he is going to get by projection he had better work on eight 
by ten negatives. The beauty of projected enlargements is, however, a great 
gain and gives freedom in subsequent working. 

The Dark-Room should be airy, safe, accessible and roomy. Work with as 
much safe-light as the material allows and be assured that plenty of space will 
pay in the saving from spoilage and loss of time. 

Study the order of things. Plan to step from one operation to the other 
with a minimum of exertion and time. Lay out the places for everything but 
do not make such placing unchangeable. Experience will suggest improve¬ 
ment as time goes on. 

The Sink is an important thing. Have it built of wood, have all joints 
rabbited, set in lead, and screwed (not nailed) together. Give the first coat of 
boiled oil and let it dry. Coat with two or three coverings of asphalt varnish 
or with some of the photographic paints made especially for the purpose. 
Probus is a preparation that covers over half the sink tanks and wooden trays 
in America. In England an acid-proof covering is on the market at a small 
cost. 

Have plenty of taps. By carrying one horizontal feed-pipe almost the entire 
length of the sink it may be tapped every two or three feet. Tilt the sink 
very slightly toward the drain and have the vent generously large. A division 
that makes two sinks of the one is an advantage. 

Put no shelves at a height or projecting so far forward that it is possible to 
hump your head on their edges in leaning over the sinks. Have plenty of 
shelves and paint them with waterproof paints so that they may be kept 
immaculately clean and free from wet or dry rot. 

If you work in large sizes and have floor tanks or stock solutions in five- 
gallon carboys, have floor trays built and waterproofed and have these deep 
enough to hold the entire contents should breakage occur. A far look ahead, 
but one that has many times paid high dividends. 

Do not use the dark-room for a store-room. 

Put your loading table at the extreme other end of the dark-room from the 
sinks and chemicals. Over this table have hung, conveniently and so you may 
find them in the halflight, a broad camel’s hair duster for plates and plate- 
holders. Use this brush before loading and when unloading. 

If possible have a good sized ventilating arrangement over the sink and in 
addition ventilating registers near the floor and ceiling. 


74 


PHOTOGRAPHIC WORKROOM HANDBOOK 


If possible have your dry chemicals stored behind locker doors. 

Your Mounting Room should be light, airy, and also roomy. The table is 
best made of redwood covered with floor oil-cloth or linoleum. It had better 
be about thirty or forty inches wide and six to eight feet long, with 
shelves handy for paste bottles, brushes, etc. Under this table may be 
shallow drawers to hold mounting papers, mounts, and tissue. 

Do not permit the mounting table to be used for packing up finished orders. 
Have a wrapping table in the same room but on the other side of the room. 
Over this have twine supplied from a hanging receptacle, and at the end of the 
table a roll of paper in the most used width. If the photographer is really 
fastidious he will cut (not tear) from the roll, or will use cut sheets instead of 
rolls. 

The package as it reaches the customer is part of the influence on his sense 
of satisfaction. Some of the highest-priced concerns wrap in expensive im¬ 
ported papers, others deliver in card-board folio envelopes, and some in boxes 
as beautifully designed as those in which confectionery comes. 

Do not buy odds and ends. A bargain hunter is always extravagant in the 
end and generally may be found floundering among a lot of useless things 
gotten simply because of cheapness. Buy nothing you do not need, and then 
buy the best. 

Quantity buying is economical only when consumption is large. The cash 
discount on small lots paid for on delivery, added to the freedom from spoilage 
and deterioration and the leaving of odds and ends more than equals the price 
margin on large purchases. But if you use much material you should be able 
to make enough in the turnover to pay for it and can then add quantity price- 
saving to the rest. 

Keep your stock in perfect order, keep careful inventory, and by all that is 
important, keep everything immaculately clean. Carelessness, lack of 
knowledge of what you have or have not and should get, and dirt, are almost 
as big a drain as that part of your overhead called “Front.” 

If you expect to establish a well-paying clientele mix with people who are 
inclined to buy liberally. Go where money is, be liberal to help, create a 
liberal atmosphere. Become one of the best people. 

A book could be written on any one of the subjects broadly treated here and 
such books have been written. You can get them for nothing from the manu¬ 
facturers or dealers. Take stock of the foregoing and decide whether it has 
helped you to choose, then proceed. 

PORTRAITS AGAINST WINDOWS 

When it is desired to make a portrait of a person sitting at a window and the 
scene outride is to show, block out the light with white sheeting outside the 
window, of as many thicknesses as shall properly subdue the daylight, illumi¬ 
nate the subject and expose almost but not quite full. Now remove the sheet¬ 
ing but have the subject maintain the same position and give a brief exposure 
of the window with out-doors showing through. Develop in soft developer or 
j tank. If necessary proceed as for halation. 


PHOTOGRAPHIC WORKROOM HANDBOOK 


75 


AN OUTLINE OF THE SCIENCE OF PORTRAIT LIGHTING 

By O. J. Smith 

I am frequently requested to suggest a list of practical equipment for making 
portrait lighting. Light of sufficient volume and brilliancy to produce grada¬ 
tion is the first requirement. A lens of liberal focal length to avoid distortion 
and preferably of the portrait series. 

A reflector to round out the shadows and the very important and much neg¬ 
lected light controllers such as a head screen of black India linen and a side 
curtain, two or two and one-half feet wide, of opaque material to round back 
the light side, is about all that is required for the purpose of modeling and 
balancing the lighting. 

If daylight is used, a clear glass window with north exposure and sufficient 
height to direct the light downward at an angle of about forty-five degrees, and 
of sufficient width to produce front, side and back illumination is ideal. 

Light is directed by closing out the lower portion of the window with opaque 
curtains or shades, running from bottom to top and placing the subject near 
enough to the source of light to direct the shadow from the nose at above angle. 
Equally important is the volume and angle of front light. If the shadow cheek 
is not relieved with a touch of light to build up its true form, we are assured that 
more front light is needed, as flatness either in lights, halftones or shadows in 
portraiture is the first indication of faulty manipulation and indifferent quality. 
Turn the sitter, facing the light sufficiently to relieve the shadow cheek of its 
former flat and uninteresting appearance This procedure will also, no doubt, 
relieve the eyes of their former dull and lifeless appearance, by introducing 
catch lights above and to the side of pupils from which the light is directed. If 
at this stage it is found that the catch lights do not appear, their absence is no 
doubt due either to protruding eyebrows or deep-set eyes, and it becomes neces¬ 
sary to lower the shades on window until the desired result is obtained. It will 
be noted that the direction of shadows, the illumination of shadow cheek and 
the catch lights in eyes, have furnished the key in directing the angle of side 
and front light. It must be understood, however, that this cannot be a per¬ 
manent arrangement. 

Features vary considerably and must be dealt with accordingly; however, 
general principles remain unchanged and the above is an excellent guide in 
directing the light and enabling one to make each action count. It is a pitiful 
loss of time and energy to strive unguidedly for effect. We now have the 
foundation of a good portrait lighting. The light, too broad and flat is properly 
directed and the shadows well placed, are dense and lack gradation. It remains 
to introduce intermediate tones, to blend between highest lights in true relative 
values, though to the deepest shadows. In other words, to point up the lights 
and shorten the shadows, thus introducing roundness, texture and tone values. 
We are dealing with what is known as plain portrait lighting, which no doubt 
deserves credit for more pleasing portraits, true to likeness and character, than 
all other lightings combined. 

When properly made they display an air of refinement which please the most 
critical, and I would advise the beginner to master plain lighting before at- 


76 


PHOTOGRAPHIC WORKROOM HANDBOOK 


tempting the more eccentric. At this point, a brief analysis of the character¬ 
istics of subject and materials at our disposal may not come amiss. The human 
face has length, breadth and depth. The ears of an adult are located five to 
seven inches farther back than the forehead, nose, lips and chin, the cheeks of 
course rounding back to the ears. The head and figure is a mass of continuous 
curves to be portrayed in relative values (length, breadth, and depth) on a flat 
surface, with light and shadows. It is the natural tendency for highlights to 
stand forward on a flat surface, while halftones and shadows recede in propor¬ 
tion to their density. If the ear on the light side receives as much light as the 
forehead, nose, lips and chin, that particular ear will step forward with due 
haughtiness, on the same plane, and since it does not belong there, it will claim 
first attention. The cheek on the light side will appear too broad and flat, while 
if the background is in proper relation, the shadowed ear will repose where it 
belongs. A bald head sometimes becomes a flat elongated forehead, much too 
high and out of all proportion to the face, due to neglect of the proper shading. 
The head screen manipulated from the rear, directly between the light and top 
of the head and brought forward to a position where it casts a subdued shadow 
over the prominent surface, without disturbing the brilliant light on the point 
of forehead nearest the lens, will correct the difficulty. The same method is 
applied when dealing with white or very light hair. 

If the light is weak or subdued or if the screen is too far from subject it will 
not be effective. Brilliancy or intensity of light controls the distance from 
subject to screen, which is as a rule eighteen to twenty-four inches. Having 
determined the proper direction of light and assuming that we are making a 
three-quarter view of the face we will proceed with the following objects in view: 

The points of forehead, nose, lips and chin nearest the lens should receive the 
strongest highlights. Halftones should grade from fights back and over the ear 
(not too abruptly) but just enough to render the face in true roundness and 
proportion. 

The fight cheek, since it is nearest the lens, should receive a stronger fight 
than the shadow cheek, but not as strong as the highest fight on the forehead. 
The narrow opaque screen is placed parallel with the side window just back of 
the subject about twenty-four to thirty inches away and brought forward 
directly between window and subject, sufficiently to subdue fight on the ear. 
This shading will blend forward over the cheek, and care must be exercised to 
avoid flattening the high-fights or reversing the strongest fight to the shadow 
cheek. Check up the highlights carefully while manipulating and stop the 
screen at the point where highlights are in proper relation to one another. The 
shadow side will now appear more luminous, but in reality it is not. If too 
dark, do not place the reflector broadside or parallel with shadow ear, but place 
it parallel with window, in front of subject on shadow side, then turn it diag¬ 
onally from window toward subject, thus illuminating the shadow from the 
nose and gradually blending back to the deepest shadow, which should occupy 
a position at the outline of the shadow side of the face. Stand at a distance 
sufficient to get a general view of the face and portion of figure being por¬ 
trayed. If the fight is stronger at lower portion than about the shoulders, place 
the black India linen head screen low, quite near and directly between the fight 


PHOTOGRAPHIC WORKROOM HANDBOOK 


77 


and subject and gradually raise the screen sufficiently to subdue the right or 
lower portion, allowing direct light to fall upon the face and shoulder only. 
Touches of high-lights are concentrated to points of face and shoulder nearest 
lens, halftones grading back with densities proportionate to distance or depth, 
there is no distortion of modeling and a true likeness in the chosen position and 
available expression is the final result. Sufficient exposure to register detail 
through to the deepest shadows is essential, then forget the shadows and develop 
just far enough to separate the high-lights from their surrounding background 
of halftone. A well-balanced and modulated lighting, exposed and developed 
normally, will require little or no modeling at the hands of the retoucher. 
Spotting and slight blending between halftones and shadows should be suffi¬ 
cient. The style of bold, broad lighting as above described is very becoming 
to elderly people, with strong character and fully developed features, of well- 
proportioned outline. Thin faces or hollow cheeks may be rounded out to an 
appreciable extent by modelling more delicately. This is accomplished by 
placing the light controlling screens farther from the subject, thus using the 
lights more open. Arc lamps and cabinets containing powerful blue Mazda 
lamps are, in reality, miniature skylights, the light radiating from a direct 
point or comparatively small area, and they require the use of auxiliary lamps 
if the best results are to be obtained. The light must be extended as would be 
the case with a daylight window which is too small to supply the necessary 
front, side and occasional back light. Front light supplies general illumination, 
which tends to flatness, while light directed from the side or slightly from the 
back of subject produces the necessary brilliancy and contrast. It is readily 
noted that such requirements cannot be obtained with artificial light radiating 
from one source only. One or more five hundred to one thousand watt blue 
Mazda lamps suspended from ceiling, forty-five degree angle in front of sub¬ 
ject- nine feet from floor and well diffused, will supply the front illumination 
and simplify the task of proper distribution. A small flood or a spot fight may 
be utilized for the purpose of back fighting, which is very effective in touching 
up the composition with brilliant highlights, well concentrated. Artificial fight 
is hand’ed identically to daylight except that it does not contain the same pene¬ 
trating power, and it is necessary to place the subject nearer to the source of 
artificial fight to obtain comparative brillancy. A view from the shadow side 
is oft-times very pleasing, especially if the features are round and regular. The 
fight cabinet is raised to proper height, the subject is placed almost directly 
opposite the middle of illuminated screen covering arc or lamps so that one 
half of the illuminated screen is extending back of the subject and approxi¬ 
mately five to six feet away. The shoulders may be turned towards the fight 
and the face turned slightly more to the camera, which occupies a position 
forward and almost parallel with fighting cabinet. The same general rules 
apply in directing the shadows as formerly described. At this stage the fight 
is broad and flat and the shadows lack the intermediate tones so essential to 
roundness and true proportion. Turn on the ceiling lamp which should be as 
above described (well diffused), and place the India linen head screen quite 
near and to the forward edge of illuminated screen covering. Move it slowly 
toward background, directly between fight and subject, to a point where direct 


78 


PHOTOGRAPHIC WORKROOM HANDBOOK 


front light is subdued sufficiently to relieve highlights resulting from the pre¬ 
dominating directness of light from farther end of cabinet back of subject. 
Highlights will appear more pronounced as this head screen is moved nearer 
to subject. Gradation on waist and shoulders results from raising the opaque 
curtain upward between light and subject, closing out the lower direct light and 
blending through halftones to lower edge of picture, resulting in the concen¬ 
tration of direct light to the face, shoulders and upper portion of the figure. 
Following the exposure the above lighting may be altered to various pleasing 
results by adjusting the head screen to a position more directly between subject 
and the fight, subduing all direct fight to the point of delicate modeling then 
introducing brilliant touches of fight by means of the spot or small flood fight, 
manipulated as taste or fancy dictates. As a rule the spot fight is used at rather 
sharp angles from the back, on either side of the subject and at times it is pro¬ 
jected from the top of the background directly back of the sitter. Again it is 
used for concentrating fight to the shadow side of brunette or auburn hair. 
Portrait films are capable of separating an extremely long scale of gradation. 
Gradation with contrast and brilliancy may be introduced in the fighting and 
reproduced in the negative with such material, while emulsions of a shorter 
scale would require fightings of flatter character and less gradation. 

In all these examples I have striven to use only such as may be duplicated in 
any studio and even in the home. The screens and reflectors are essential items 
of equipment. Where they are not on hand makeshifts may be improvised but 
really good work can be done only with proper tools. 

MAKING PORTRAITS 
By J. Anthony Bill 

When that important mass, the general public, is pleased with some photo¬ 
graphs, it wants to know “how they were done.” 

To describe my methods ought to be very easy; but the production of a 
corrent photographic “atmosphere” and the supplying material surroundings 
that will put the subject at his ease, whereby he is physically and spiritually 
at his best, really is a hard matter. 

The ideal studio, in the first place, should be a peaceful habitation. It should 
be so restful that the person being photographed will relax without being 
urged to. 

When a camera portrait is commented on by other people and they say 
“What a natural picture,” it is proof that the pictured person was “natural.” 
Naturalness was permeating not only the environment, but the subject’s per¬ 
sonality and individuality as well. 

To get the desired results in this matter of relaxation, mental and physical, 
I find, as most successful photographers have found, that gently arousing the 
subject's real interest—whether it be in clothes, golf, motoring, mountain 
climbing or music, books, theater, or movies, is the easiest and quite the best 
way to achieve satisfactory results. 

Individuality will show always, in the interested work of the operator. If I 
have no interests in my subject’s interests; if I cannot assume, for the time 


PHOTOGRAPHIC WORKROOM HANDBOOK 


79 


^eing at least, such an interest, then I am no artist, and deserve no honors! 
The simpler, less “stage-set” your camera-portraits appear, the longer they 
deserve to and will, live. Stilted or “stiff,” detail-overburdened portraits 
never show the quality of photographic personality. People looking at your 
work will not say then to themselves, “When I have a picture, I’ll come here.” 
What personality the subject possessed has been smothered, one might say, in 
poorly thoughtout environment and that before mentioned atmosphere. 

In photography, we ought to have an ideal. The man or woman of whom 
you are making a portrait surely has an ideal; perhaps many of them. 

But in your case remember, that for the moment, at least, your ideal is to 
produce on the sensitive plate a concrete, artistic and complete picture of the 
sitter’s individual personality. If that can be secured by certain surroundings, 
your studio should have those surroundings. If the sitter is self-conscious be¬ 
cause of having a picture made, it is up to you to get that sitter started thinking 
and talking along the lines of least spiritual resistance—which is always what 
interests him. 

And when you have successfully helped him to relax, both mentally and 
physically, you are going to make a good portrait. Possibly a better one than 
you have ever made before. And when you have done that you will be thinking 
of making photographs that are better than the best you have seen. Never 
keep in mind portraits made by operators who are not as good as you. Think 
up, not down! Aim high and keep yourself on tip-toe to equal and surpass the 
best you have seen. 

But to get down to the “brass tacks” for the profession. 

In the first place, let us begin with children. They are really the most im¬ 
portant portion of the photographer’s audience. They are both the potential 
and the actual patrons of the photographic art as we are carrying it on. 

The child of today, the youth of tomorrow, the adult of day after tomorrow! 
A satisfactory photograph of a child, therefore, leaves the desired pleasing 
impression upon the parent. Later on that impression naturally will be trans¬ 
mitted to the subject of the picture and by him or her to others. 

The psychology of childhood is and should always be, a most interesting and 
important attribute for the photographer to study carefully. 

Unless you gain the confidence of the child, portraits cannot be either artis¬ 
tically or professionally successful. The photographer who establishes a com¬ 
radeship between the child and himself approaches it in a practical, philosophi¬ 
cal manner which will work artistic wonders. 

When you have a child at ease, you have won half the battle; for a natural 
mood is essential. You have won its confidence by actually being, for the time, 
its playmate, not an austere, order-giving stranger whose pet phrase seems to 
be “Look at my finger now, and smile, and watch for the birdie to come out of 
this box!” Grown people know how very difficult it is to smile naturally to 
order; and young people are quite as prone to sense that difficulty. 

In one sentence, taking child portraits can best be accomplished by making 
the child forget the curious looking box on three legs and filling the child-heart 
and the atmosphere of the room with the play-mate spirit. 


80 


PHOTOGRAPHIC WORKROOM HANDBOOK 


In photographing women I would emphasize the fact (for it is a fact) that 
they are most emphatically grown-up children. They want you to make them 
look, in their photograph, as they would like to look. They naturally pay more 
attention to the costume; and I have had many women ask me to photograph 
the best side of their faces. Of course we of the profession know that there is a 
best side and we quite naturally make that side more prominent in full or three- 
quarter views of the faces, as well as in picturing profiles. 

There are various styles of portraits, of course. I have been most successful 
and naturally most interested in camera portraits that are perfected by paying 
much attention to delicate light effects and that ease of mind which pictures 
itself in and through the physiognomy. 

Such effects are usually delightful to the women because of the extreme 
artistry employed. 

Pictures of this sort, both of women and of children, should be kept in a key 
of soft tones, plenty of air, of light, and of color. Beautify them all you can in 
pose, in light and simplicity of surrounding. In the case of women you can 
never overstress their femininity, so don’t think that their “fussiness” about 
arrangement of gown, or hat or anything else that is intimately connected with 
them, is to be placed among the non-essentials. Here is a most important thing 
to be considered, not overlooked. 

In making portraits of men, experience shows that they are very much less 
concerned about looking well, or about the surroundings that are to be used in 
the pictures, than they are about “getting it over with.” 

To most of them, having a picture made is just a plain bore. The quicker 
it’s done the better they’ll be pleased. 

Having such a feeling makes it difficult for the conscientious operator. The 
camera can produce a truly good and characteristic portrait. Right here must 
come the psychology of the sitter at his spiritual ease. You can’t talk toys or 
games or tell him stories as you may have done when the subject was a little 
chap. You can’t discuss changes in fashion or So-and-So’s wedding, as with 
your women patrons. But you can get close to your men by discovering and 
harping upon his hobby. 

Whatever he is interested in, be it golf or going into the woods, baseball, or 
biological study, fruit raising or fishing, he will respond to well-placed little 
inquiries about that pet hobby of his. As he relaxes mentally and physically 
you will note that his eyes, those “windows of the soul” brighten perceptibly. 
They may have been wandering or dreamy before, showing that he was 
really still at his desk though he had brought his body to you to have it pho¬ 
tographed. But now you have him in proper mood for real portrait-making. 

If I have been successful in camera portraiture it is largely due to my men¬ 
tal attitude, too. I want to do even better work than I have done. Long ago 
my photographic wagon was hitched to a star and the harness still holds. 
What I have done is only an indication of the bigger and better things I hope 
to do. Ambition is not monopolized by young people. We oldsters have quite 
as much right to it, especially the ambition to improve on what we have done 
in the past. 

If the portraits of our men-patrons are strong, faithful in delineation and 


PHOTOGRAPHIC WORKROOM HANDBOOK 


81 


full of character, when we sit in front of the camera, and not stand behind it, 
our own character will show its best side on the plate I 

PORTRAIT SUGGESTIONS 

To make subject appear tall put head nearer top of plat®. 

To make short place head further from top of plate. 

Face being narrow light from below and put camera low, pointing upward. 

Face broad light from above and put camera high, pointing slightly down¬ 
ward. 

Blue eyes—throw a faint pinkish light into eyes. 

Use long focus lens to get roundness and atmosphere. 

Backgrounds should be unobtrusive and diffused—they are not the portrait. 

No matter how soft and diffused you choose to make the features remember 
that the eyes must be clean cut and clear to appear lifelike. 

Light your subject evenly, flat, to begin, then build up your high light with 
flood and spot lights and finally place the proper screens to make the whole 
hold together. 

Old people are best shown in a low key. 

Children call for a high key—plenty of light and no massed shadows. 

The catch-light in the eyes should be carefully considered and should show 
in both eyes in such a away that strabismus is not suggested. 

Watch for a moment when the subject relaxes the mouth muscles, then take. 
The hardening of the comers of the mouth has caused many a re-take. 

Re-touching calls for great care, much taste and immeasurable judgment. 
If the subject favors a marble smooth face give a rather full exposure and light 
soft. If the subject wants the lines God put upon each face as a mark of 
favor—or the reverse—light accordingly and give a shorter exposure. 

A Portrait Artist should be a student of character. 

The crudest amateur can snap a shutter. The professional should be able 
to make a “Likeness." 

A “Likeness" is not a record of eyes, nose, mouth, features, but an everlast¬ 
ing picture of the face and the soul that animates it. 

Do not accent infirmities or blemishes, yet do not so palpably disguise them 
as to more than ever attract attention to them. 

Converse with the subject but, as you value your reputation, do not indulge 
in patter. 

To photographers being equal in skill, education, refinement, culture, will 
mark one above the other, and his work will be by that much the better. 

The negative should be clean. The re-toucher cannot perform miracles. 

Do not rush your printer. Speed is at the cost of quality. Too fast a light 
cuts out some of the half-tones and blocks up the shadows. 

Develop negatives and prints in filtered solutions and keep the fixing bath 
fresh and clean. 

HALF WATT LAMPS AND H. & D. MEASUREMENT 

The European expression, half watt lamp or bulb merely means a nitro 
bulb delivering a candle light to the half watt. Expressed differently, it is the 


82 


PHOTOGRAPHIC WORKROOM HANDBOOK 


gas filled filament bulb in common use delivering approximate efficiency 
of one candle power per half watt of electricity consumed. A hundred watt 
lamp would therefore rate at about 200 candle power. For ordinary, color¬ 
blind emulsions, the artificial light of which we speak, is far inferior to day¬ 
light but for ortho and panchromatic emulsion, the half watt lamp is from 
two to three times faster than daylight. The reason is that daylight is rich in 
shorter rays, those at the ultra or blue end of the spectrum; vibrations to 
which the color blind emulsions are most sensitive. The artificial light being 
richer in the longer rays—those at the infra or red end of the spectrum 
and deficient in the blue naturally affects the hypersensitized and spe¬ 
cifically selective treatment of ortho and panchro emulsions. Thus we find 
certain plates marked 700 H. & D. Daylight 2000 Half Watt. One German 
firm advertising a plate three times faster to half watt than daylight sug¬ 
gests a high degree of red sensitization though not necessarily faster 
throughout the scale. 

LENSES—Focal Length 

Focus your lens on a very distant object until it shows sharp, then on a 
ruler until it shows sharp and measures accurately life size; the distance 
which you have moved the lens gives the focal length, sufficiently ac¬ 
curately to serve your purpose. 

APERTURE 

The “f” system is based on the ratio of the focal length to the aperture 
or diaphragm opening. A ready way of understanding this is to consider the 
“f” as the figure one and put it as the numerator of a fraction, the de¬ 
nominator of which shall be the figure or figures given as the stop number, 
as, for instance, “f4” is to be read as f/4, or %, 'meaning the diameter of 
the opening is *4 of the focal length. Thus “5.6” would mean f/5.6, or 
1/5.6 of the focal length. Let us take a lens of 7-inch focal length and con¬ 
sider an aperture of f5: The diameter of the aperture should be f/5 or 1/5 
of 7 inches or 12/5 inches. On an ultra-aperture lens working at f2. and of 
7-inch focal length the opening would have the relatively enormous diam¬ 
eter of of 7 inches, or 3*4 inches. 

In buying a lens you may thus arrive at a knowledge of the size of what 
you are going to get and decide whether your camera can accommodate a 
mount somewhat near the size of a brass cuspidor. 

CHOICE OF A LENS 

For pictorial work one should have a high grade anastigmat, a diffused 
focus, and a single meniscus. 

For commercial work a battery of lenses is essential, covering needle 
sharp process lenses for copying, anastigmats for architectural work, ultra¬ 
aperture for moving objects, diffused focus for pictorial and illustrative 
work, and quartz lenses for scientific work. For Portraiture the best por¬ 
trait lenses and at least two, of short and long focal lengths, and one 
anastigmat, are essential. Men have built homes with an axe and a hammer 
but the best houses are built with a, full kit of tools. 

CARE OF A LENS 

The essential thing in cleaning a lens is to remove the soiling without 
injuring the polish. A slight scratch does more harm than a dozen bubbles. 

Dust the glass with a camel’s hair brush, wipe gently with a soft, well- 
washed bit of linen and again dust with the brush to remove lint. 

Use no acids or alcohol. If necessary to act more radically take to an 
optician. 


PHOTOGRAPHIC WORKROOM HANDBOOK 


83 


THE AMATEUR PHOTOGRAPHER 

He who works purely for the love of the art can do no better than to equip 
himself with the best. His dark-room should be as carefully designed and his 
things as well selected as the professional's. The dark-room is pretty much the 
same whether for portrait, commercial, or amateur use, but the cameras, lens 
and outfit in general differ greatly. 

A five by seven view box or hand camera with a high grade anastigmat of 
f4.5 and 8-inch focal length, a Graflex or other reflecting type camera with a 
still faster lens if means permit, and the attachments that allow using film 
packs, roll-films, plates in magazines, one or all of these. 

The amateur, too, will be likely to stock with all sorts of chemicals and 
plates and papers—he will do that—so it might be well to warn him that there 
are no bargains in perishable goods: And photographic papers, plates and 
films are perishable. Buy the best, buy it fresh, and do not stock up in quanti¬ 
ties that will stay on your shelf for a year or more. You will find it far cheaper 
to buy as you need. A gross of paper is not cheaper than a dozen lot, propor¬ 
tionately, if at the end of a period of time you must throw half of the gross 
away as spoiled. 


LIGHTNING OR FIRE WORKS 

Place camera on tripod or firm support; set shutter for “time” exposure 
and open shutter with camera pointed at the object to be photographed. If 
lightning, point camera toward the part of sky where flashes are most frequent. 
When flash has occurred within the angle of lens, shutter should be closed, 
although no harm can come by leaving shutter open for several flashes, as each 
flash of light will leave its own record on the film. Use Stop F. 11, U. S. 8. 

MOONLIGHT EFFECTS 

Best subjects are those made across water in which the sun is reflected and 
are most successful in early morning or late evening, about half an hour before 
sunset or after sunrise. Make snapshot with the camera pointed directly 
against the sun while it is shining through the clouds or with its rays illumi¬ 
nating the edges of some heavy dark cloud. Make prints from the resulting 
negative very dark. The effects are very pleasing and the simplicity of it will 
be surprising. 


FLASH LIGHTS 

Pictures of little children are best made with Flashlight, especially during 
the winter months when the weather will not permit of out-door work. The 
flashlight powder is prepared in small cartridges or in sheets suitable for the 
average room and are simple and safe in any hands. 

Leave all lights burning in the room, thus eliminating eye-strain, so objec¬ 
tionable in most flashlight pictures. Follow directions as given on each box or 
package. Set shutter for “time.” Open shutter, ignite flash powder, then close 
shutter. Use Stop F. 11, U. S. 8. 


84 


PHOTOGRAPHIC WORKROOM HANDBOOK 


CAMP-FIRE SCENES 

Wrap the powder contained in one of the cartridges in some tissue paper, set 
the camera as before, and with the group properly arranged around the fire, 
throw this paper containing the powder into fire. To prevent the light reflect¬ 
ing back into the lens, place one of the figures between the flash and the 
camera. 


PHOTOGRAPHING AT NIGHT 

Buildings covered with lights. Stop F. 16—5 to 10 minutes 

Store Fronts,Shop Windows, well lighted. Stop F. 16—10 minutes 

Poorly lighted scenes and buildings. Stop F. 16—30 minutes 

Open street scenes. Stop F. 16—30 minutes 

Wet pavements or snow-covered scenes. Stop F. 16—15 minutes 

Gardens, well lighted. Stop F. 16—15 minutes 

Harbors. Stop F. 16—15 minutes 

Moonlight pictures (made by the light of the 

moon). Stop F. 8, U. S. 4—One hour 

Use A this time if full moon and ground is covered with snow. 

PHOTOGRAPHIC INTERIORS 



Bright 

Hazy 

Cloudy 

White walls and more than one window. 

4 s. 

10 s. 

40 s. 

White walls and one window. 

6 s. 

15 s. 

60 s. 

Medium colored walls and more than one window.. 

8 s. 

20 s. 

80 s. 

Medium colored walls and one window. 

12 s. 

30 s. 

120 s. 

Dark walls and more than one window. 

20 s. 

40 s. 

2 min. 40 s. 

Dark walls and one window. 

40 s. 

80 s. 

5 min. 20 s. 


This table is calculated for rooms whose windows receive the unobstructed 
light from the sky, and for exposures made not earlier than three hours after 
sunrise or later than three hours before sunset. 


INTERIOR PORTRAITS 


Subject 3 or 4 feet from 

window, 

average room. 

No sun 

on subject. 


Bright 

Hazy 

Cloudy 

In Sun Pari 

Stop F. 4.5. 

1/5 s. 

As. 

1 s. 

1/10 s. 

Stop F. 6.3. 

As. 

1 s. 

2 s. 

1/5 s. 

Stop F. 8—U. S. 4. 

1 s. 

2 s. 

4 s. 

As. 

Stop F. 11—U. S. 8..... 

2 s. 

4 s. 

8 s. 

1 8. 


Double this time for rooms facing north or rooms not facing the sun. 


Home portraits can be made with the ordinary Kodak or Brownie by using 
the Kodak Portrait Attachment over the regular lens. Subjects can then be 
placed about 3 A feet from Kodak. The price is 50 cents in all sizes. A beautiful 
illustrated booklet, “At Home With the Kodak," contains many helpful hints 
on portraits at home and is free for the asking. 

















PHOTOGRAPHIC WORKROOM HANDBOOK 


85 


INTERIORS BY ARTIFICIAL LIGHT 

Accurate exposures cannot be given owing to the great variety of illumi- 
nants used, ranging from Oil Lamps to the very actinic Nitrogen Lamps now 
so generally used. The exposures here given are for the average Mazda Electric 
and Welsbach Gas Lamps, and will serve as a practical guide for other illumi- 
nants. 

Average room, well lighted.Stop F. 8—20 minutes 

Medium or dark walls.Stop F. 8—45 minutes to one hour 

Approximately four to eight times these exposures required with the average 
oil lamps. 


DEVELOPMENT IN GENERAL 

With every package of plates, films, or papers you buy is packed a direction 
sheet. The formulas on these are the best for each brand. The makers are 
interested in your getting the best possible results. They have chemists in 
their employ whose fife work it is to help you get the best results. No formulas 
are quite as good as those given by the manufacturers and these are not inter¬ 
changeable for equally good results. 

It may be well to tell the reader how this comes about. When the maker 
of a paper, let us say, has perfected a sensitive emulsion and carefully noted 
the very best developer for it he makes all future sensitive emulsions not by 
the same measurements and weights in its compounding but to conform to 
that developer. In other words a developer is not made to fit each batch of 
paper but all runs are made to conform to the standard developer. What 
hope can you or I have of bettering that developer ? 

Workers do not, however, always want standard results. There are idio¬ 
syncrasies in methods and tastes. The shade, the density, the contrast of 
certain developers please some better than other shades, densities, etc. Some 
prefer to find a developer that will work well with every brand of paper (for 
instance) they use, and shirk mixing and storing a number of developers. 

Remember that Sulphite prevents yellowing of the image in Pyro developers, 
is a preservative from oxidization in all developers, and in too large a proportion 
produces fog. 

Carbonate increases contrast up to a certain point and then causes fog or 
stain. 

Bromide prevents fog up to a certain point, then degrades the color to a dis¬ 
agreeable or rusty green, and still further causes fog. 

The stronger the developer the denser the negative in the ordinary way of 
development. In this way it seems to give greater contrasts. 

Dilution really causes softness not only mechanically but in a way chemically 
as slow development gives a finer deposit. 

Developers are quite as much a determining factor in the speed of a plate, 
film or paper as the speed put into the emulsion. A negative normally exposed 
for Metol will be twenty or more times underexposed for Hydroquinon. Not¬ 
withstanding the learned treatises to the contrary the above truth permits of 
compensating for errors in exposure (when known) by use of certain developers. 




86 


PHOTOGRAPHIC WORKROOM HANDBOOK 


Tray development is strictly an amateur proceeding and the trouble is more 
than compensated for by the fun of seeing what happens. In expert hands it 
gives special effects for particular purposes that cannot be gotten otherwise. 

Tank development is not only less trouble, time-saving, and productive of 
negatives with a finer grain through slow development, but it averages enor¬ 
mously in favor of getting workable results from over or underexposures, 
different brands and so forth. Professionals can no longer afford to do indi¬ 
vidual development. 

Pyro is still the favorite of masters, professional and amateur. 

Metol-Hydroquinon, called M. Q., is the universal favorite of the masses. 
Both are good. 

The hair-splitting contingent who add a few grains of Adurol, or prefer the 
infinite variety of Organic developers on the market for one purpose or another 
will generally be found to have an equally large variety of negatives to print 
from, each presenting a new problem as to time and development. 

Standardize as much as possible but do not become hide-bound and close to 
special means of obtaining particular results. 

Learn to, work with given material, perfect yourself in the use of these and 
your years will be more productive, your expenditures smaller, and your waste 
less. 

All the things on the market were made to sell but you need only buy what 
serves your purpose. This does not mean you are not to advance with the 
progress of the times. It does mean that if you intend to do serious work you 
cannot play with everything that comes along. 

Water is a chemical. See that you use only such as might be called C. P. 

Mix carefully, measure and weigh accurately, keep utensils chemically 
clean. 

METRIC SYSTEM OF WEIGHTS AND MEASURES 
Measures of Length 


Denominations and Values 

Equivalents in Use 

Myriameter •«••••••••••••••••• 

10,000 meters 
1,000 meters 

6.2137 miles 

.62137,miles or 3,280 ft. 10 in. 
328. feet and 1 inch 

393.7 inches 

39.37 inches 

3.937 inches 
.3937 inch 
.0394 inch 

Kilometer..................... 

Hectometer.. 

100 meters 

Dekameter. ••••••••••••#••••*• 

10 meters 

Meter . 

1 meter 

Decimeter ...•••••••••••. 

1-lOth of a meter 

Centimeter .. 

l-100th of a meter 

Millimeter... 

l-1000th of a meter 



Measures of Surface 


Denominations an< 

IValues 

Equivalents in Use 


10,000 square meters 

2.471 acres 

119.6 square yards 
1,550. square inches 


100 square meters 


1 square meter 


























PHOTOGRAPHIC WORKROOM HANDBOOK 


87 


UNITED STATES WEIGHTS AND MEASURES 

VOLUME—LIQUID 


4 gills = 1 pint. 

Gills 

Pints Gallon Cub. In. 

2 pints = 1 quart. 

4 quarts = 1 gallon. 

32 

» 8 

CO 

<N 

II 

H 

1 


FLUID 



i Pints Ounces 

Drachms 

Minims 

Cubic Centimetres. 

- 8 = 128 = 

1,024 = 

61,440 

= 3,785.435 

1 = 16 = 

128 = 

7,680 

= 473.179 

1 = 

8 = 

480 

= 29.574 


1 = 

60 

= 3.697 


16 ounces, or 1 pint, is sometimes called a fluid pound. 


TROY WEIGHT 


Pound Ounces Pennyweights Grains 


Grams 


1 = 12 = 240 = 5,760 = 373.24 

1 - 20 = 480 = 31.10 

1 = 24 = 1.56 

APOTHECARIES’ WEIGHT 
lb. gr. 

Pounds Ounces Drachms Scruples Grains Grams 
1 - 12 = 96 = 288 = 5,760= 373.24 

1 - 8 = 24 = 480= 31.10 

1 — 3 — 60- 3.89 

1 - 20= 1.30 

1= .06 


The pound, ounce, and grain are the same as in Troy weight. 


AVOIRDUPOIS WEIGHT 


Pound Ounces 

Drachms 

Grains (Troy) 

Grams 

1 - 16 = 

256 

7,000 

453.60 

1 - 

16 = 

437.5 

28.35 


1 

27.34 

1.77 


ENGLISH WEIGHTS AND MEASURE 

APOTHECARIES’ WEIGHT 
20 Grains = 1 Scruple = 20 Grains 

3 Scruples = 1 Drachm = 60 Grains 

8 Drachms = 1 Ounce = 480 Grains 

12 Ounces = 1 Pound = 5760 Grains 

FLUID MEASURE 
60 Minims = 1 Fluid Drachm 
8 Drachms = 1 Fluid Ounce 
20 Ounces = 1 Pint 
8 Pints = 1 Gallon 

The above weights are usually adopted in formulas. 


88 


PHOTOGRAPHIC WORKROOM HANDBOOK 


All Chemicals are usually sold by 

AVOIRDUPOIS WEIGHT 
27*^2. Grains = 1 Drachm = 27‘Ha. Grains 

16 Drachms = 1 Ounce = 437# Grains 
16 Ounces = 1 Pound = 7000 Grains 

Precious Metals are usually sold by 

TROY WEIGHT 

24 Grains * 1 Pennyweight = 24 Grains 

20 Pennyweights = 1 Ounce = 480 Grains 

12 Ounces = 1 Pound = 5760 Grains 

NOTE—An ounce of metallic silver contains 480 grains, but an ounce of 
nitrate of silver contains only 437# grains. 



UNITED STATES FLUID MEASURE 

Pints 

Ounces 

Drachms 

Mins. 

Cub. In. Grains. Cub. C. M. 

8 = 

128 = 

1,024 = 

61,440 = 

231. =58,328.886 =3,785.44 

1 = 

16 = 

128 = 

7,680 = 

28.875 = 7,291.1107 = 473.18 


1 = 

8 = 

480 = 

1.8047 = 455.6944 = 29.57 



1 = 

60 = 

0.2256 = 56.9618 = 3.70 


IMPERIAL BRITISH FLUID MEASURE 


Gal. Pints Ounces 

Drachms 

Mins. Cub. In. Grains 

1=8 = 160 = 

1,280 = 

76,800= 277.27384 =70,000 

1 = 20 = 

160 = 

9,600= 34.65923 = 8,750 

1 = 

8 = 

480= 1.73296 = 437.5 


1 = 

60= 0.21662 = 54.69 


Cub. C. M. 

= 4,543.732 
= 567.966 
= 28.398 

= 3,550 


METRIC FLUID MEASURES 

The cubic centimeter, usually represented by “C.c.,” is the unit of the 
metric measurement for liquids. It contains 17 minims of water. The weight 
of this quantity of water is 1 gram. The following table will prove to be 
sufficiently accurate for photographic purposes: 

THE CONVERSION OF FRENCH (METRIC) INTO ENGLISH 

MEASURE 


1 cubic centimeter 

= 

17 minims. 






2 cubic centimeters 

= 

34 minims. 






3 cubic centimeters 

= 

51 minims. 






4 cubic centimeters 

= 

68 minims 

or 

1 

dram 

8 

minims. 

5 cubic centimeters 

= 

85 minims 

or 

1 

dram 

25 

minims. 

6 cubic centimeters 

= 

101 minims 

or 

1 

dram 

41 

minims. 

7 cubic centimeters 

= 

118 minims 

or 

1 

dram 

58 

minims. 

8 cubic centimeters 

= 

135 minims 

or 

2 

drams 

15 

minims. 

9 cubic centimeters 

= 

152 minims 

or 

2 

drams 

32 

minims. 

10 cubic centimeters 

= 

169 minims 

or 

2 

drams 

49 

minims. 

20 cubic centimeters 

= 

338 minims 

or 

5 

drams 

38 

minims. 

30 cubic centimeters 

= 

507 minims 

or 

1 

ounce 

0 

dram 27 minims, 


PHOTOGRAPHIC WORKROOM HANDBOOK 


89 


40 cubic centimeters 
50 cubic centimeters 
60 cubic centimeters 
70 cubic centimeters 
80 cubic centimeters 
90 cubic centimeters 
100 cubic centimeters 
1000 cubic centimeters 


676 minims or 1 
845 minims or 1 
1014 minims or 2 
1183 minims or 2 
1352 minims or 2 
1521 minims or 3 
1690 minims or 3 
1 liter = 34 fluid 


ounce 3 drams 16 minims, 
ounce 6 drams 5 minims, 
ounces 0 drams 54 minims, 
ounces 3 drams 43 minims, 
ounces 6 drams 32 minims, 
ounces 1 dram 21 minims, 
ounces 4 drams 10 minims, 
ounces nearly, or 2yi pints. 


Measures of Volume 


Denominations and Values 

Equivalents in Use 


No. of 




Names 

Liters 

Cubic Measures 

Dry Measure 

Wine Measure 

Kiloliter or stere 

1,000 

1 cubic meter 

1.308 cubic yards 

264.17 gallons 

Hectoliter. 

100 

l-10th cubic meter 

2 bu. and 3.35 





pecks 

26.417 gallons 

Dekaliter. 

10 

10 cubic decimeters 

9.08 quarts 

2.6417 gallons 

Liter. 

1 

1 cubic decimeter 

.908 quart 

1.0567 quarts 

Deciliter. 

1-10 

l-10th cubic decimeter 

6.1023 cubic inches 

.845 gill 

Centiliter. 

1-100 

10 cubic centimeters 

.6102 cubic inch 

.338 fluid oz. 

Milliliter. 

1-1000 

1 cubic centimeter 

.061 cubic inch 

.27 fl. drm. 


Weights 


Denominations and Values 

Equivalents in Use 

Name# 

Number 
of Grams 

Weight of Volume of Water 
at its Maximum Density 

Avoirdupois 

Weight 

■\/fi1U»r nr Tonneau. 

1,000,000 

100,000 

1 cubic meter 

2204.6 pounds 

220.46 pounds 


1 hectoliter 


10,000 

10 liters 

22.046 pounds 

Tfilruyrnm nr TCilo. 

1,000 

100 

1 liter 

2.2046 pounds 

TT ao+.nfrm m. 

1 deciliter 

3.5274 ounces 


10 

10 cubic centimeters 

.3527 ounce 

Grain.. 

1 

1 cubic centimeter 

15.432 grains 


1-10 

l-10th of a cubic centimeter 

1.5432 grain 


1-100 

10 cubic millimeters 

.1543 grain 

Millicrram... 

1-1000 

1 cubic millimeter 

.0154 grain 





For measuring surfaces, the square dekameter is used under the term ARE; the hectare, or 
100 ares, is equal to about 2 H acres. The unit of capacity is the cubic decimeter or LITER, 
and the series of measures is formed in the same way as in the case of the table of lengths. The 
cubic meter is the unit of measure for solid bodies, and is termed STERE. The unit of weight 
is the GRAM, which is the weight of one cubic centimeter of pure water weighed in a vacuum 
at the temperature of 4 deg. Cent, or 39.2 deg. Fahr., which is about its temperature of maxi¬ 
mum density.' In practice, the term cubic centimeter, abbreviated c.c., is generally used in¬ 
stead of millimeter and cubic meter instead of kiloliter. 













































90 


PHOTOGRAPHIC WORKROOM HANDBOOK 


The meter is a measure of length equal to 39.370 English or American inches, 
a standard of linear measure supposed to be the ten-millionth part of the 
distance from the equator to the north pole, as ascertained by actual measure¬ 
ment of an arc of the meridian. 

This system, formed on the meter as the unit of length, has four other lead¬ 
ing units, all connected with and dependent upon this. Hence, we have: 

1. The meter, which is the unit of measures of length. 

2. The are, which is the unit of surface, and is the square of the meter. 

3. The liter, which is the unit of measures of capacity, and is the cube of a 
tenth part of the meter. 

4. The stere, which is the unit of measures of solidity, having the capacity 
of a cubic meter. 

5. The gram, which is the unit of measures of weight, and is the weight of 
that quantity of distilled water at its maximum density, fills the cube of a 
hundredth part of the meter. 

Each unit has its decimal multiples and sub-multiples, that is, weights and 
measures ten times larger, or ten times smaller, than the principal units. The 
prefixes denoting multiples are derived from the Greek, and are: Deka, ten; 
hecto, hundred; kilo, thousand; and myria, ten thousand. Those denoting 
sub-multiples are taken from the Latin, and are: Deci, ten; centi, hundred 
(as in centigram or centimeter); and milli, thousand. 

The metric system has been adopted by many nations, the English excepted. 
In America its use has been made optional, but is legalized by Congress. All 
photographic formulas received from the continent of Europe express values 
and quantities with metrical weights and measures. To utilize them directly 
without translating into the expressions of the English system, the student is 
advised to procure gram weights and cubic centimeter graduates, and substi¬ 
tute them for those denoting quantities according to the old plan. 


THE CONVERSION OF FRENCH (METRIC) INTO ENGLISH 

WEIGHT 

The following table, which contains no error greater than one-tenth of a 
grain, will suffice for most practical purposes: 

1 rrrom (rromo 


1 gram 

2 grams 

3 grams 

4 grams 

5 grams 

6 grams 

7 grams 

8 grams 

9 grams 

10 grams 

11 grams 

12 grams 

13 grams 

14 grams 


15% grains. 
30% grains. 
46% grains. 
61% grains or 
77% grains or 
92% grains or 
108 grains or 
123% grains or 
138% grains or 
154% grains or 
169% grains or 
185% grains or 
200% grains or 
216 grains or 


1 dram 1% grain. 

1 dram 17% grains. 
1 dram 32% grains. 

1 dram 48 grains. 

2 drams 3% grains. 
2 drams 18% grains. 
2 drams 34% grains. 

2 drams 49% grains. 

3 drams 5% grains. 
3 drams 20% grains. 
3 drams 36 grains, 


PHOTOGRAPHIC WORKROOM HANDBOOK 


91 


15 

grams 

= 

231* 

grains 

or 

3 drams 

51* 

grains. 

16 

grams 

= 

247 

grains 

or 

4 drams 

7 

grains. 

17 

grams 

= 

262* 

grains 

or 

4 drams 

22* 

grains. 

18 

grams 

= 

277* 

grains 

or 

4 drams 

37* 

grains. 

19 

grams 

= 

293* 

grains 

or 

4 drams 

53* 

grains. 

20 

grams 

= 

308* 

grains 

or 

5 drams 

8* 

grains. 

30 

grams 

= 

463 

grains 

or 

7 drams 

43 

grains. 

40 

gram3 

= 

617* 

grains 

or 

10 drams 

17* 

grains. 

50 

grams 

= 

771* 

grains 

or 

12 drams 

51* 

grains. 

60 

grams 

= 

926 

grains 

or 

15 drams 

26 

grains. 

70 

grams 

= 

1080* 

grains 

or 

18 drams 

0* 

grains. 

80 

grams 

= 

1234* 

grains 

or 

20 drams 

34* 

grains. 

90 

grams 

= 

1389 

grains 

or 

23 drams 

9 

grains. 

100 

grams 

= 

1543* 

grains 

or 

25 drams 

43* 

grains. 

1000 

grams 

= 

1 kilogram = 

> 32 oz., 1 dr., 12* gr. 


THE CONVERSION OF METRIC INTO AMERICAN 

MEASURE 

The following table is computed true to the nearest half grain or minim, as 
the case may be, so it will prove a sufficiently near approximation to the re¬ 
quired metric equivalents. 

U. S. P. STANDARD 


Gram, 

or 

c.cm. 

Grains 

Minims 

Gram, 

or 

c.cm. 

Grains 

Minims 


1 

15# 

16# 

15 

231# 

244 

The “kilo" or kilogram, 

2 

31 

32# 

16 

247 

260 

the 1,000 gram weight, is 

3 

46 

49 

17 

262 

276 

equal to 32 ounces 72*o 

4 

62 

65 

18 

278 

292# 

grains “Troy or Apothecar¬ 

5 

77 

81 

19 

293 

309 

ies” weight, or 2 pounds 3 

6 

93 

97# 

20 

308# 

325 

ounces 119*o. grains Avoir¬ 

7 

108 

114 

30 

463 

487# 

dupois. 

8 

123# 

130 

40 

617 

650 

The “liter” or 1,000 cubic 

9 

139 

146 

50 

771# 

813 

centimeters, or bulk of 

10 

154 

162# 

60 

926 

975# 

water that weighs 1 kilo, is 

11 

170 

179 

70 

1,080 

1,138 

equal to 2 pints 1 fluid 

12 

185 

194 

80 

1,234# 

1,300# 

ounce and 415*o. minims, 

13 

201 

211 

90 

1,389 

1,463 

U. S. P. Standard, or our 

14 

216 

227# 

100 

1,543 

1,625# 

glass graduates as common¬ 




1,000 

15,432* 

16,256* 

ly sold by reliable houses. 





1 kilo. 

liter. 


The grains and minims are easily reduced to fluid drachms and fluid ounces, 
or drachms and ounces Troy, by my readers, if they will only remember that 
60 grains or minims go to the solid or fluid drachm, and 480 grains or minims, 
or 8 drachms solid or fluid, go to each U. S. P. ounce, solid or fluid. 















92 


PHOTOGRAPHIC WORKROOM HANDBOOK 


Thus the table gives the value of 90 grams as 1,389 grains, of 90 cubic centi¬ 
meters as 1,463 minims. How many ounces in each? 

Dividing 1,389 by 60 for drachms, we have 23 drachms 9 grains. As 8 
drachms go to the ounce, there are 2 ounces in the 23 drachms and 7 drachms 
over, so we have—in 1,389 grains there are 2 ounces 7 drachms 9 grains. In the 
same way we find 3 fluid ounces and 23 minims over, to be the value of 90 cubic 
centimeters or 1,463 minims. 


TABLE SHOWING THE COMPARISON OF THE READINGS 
OF THERMOMETERS 

Celsius, or Centigrade (C). Reaumur (R). Fahrenheit (F)._ 


C—30 

R—24.0 

F—22.0 

C 23 

R 18.4 

F 73.4 

-25 

-20.0 

-13.0 

24 

19.2 

75.2 

-20 

-16.0 

- 4.0 

25 

20.0 

77.0 

-15 

-12.0 

+ 5.0 

26 

20.8 

78.8 

-10 

- 8.0 

14.0 

27 

21.6 

80.6 

- 5 

- 4.0 

23.0 

28 

22.4 

82.4 

- 4 

- 3.2 

24.8 

29 

23.2 

84.2 

- 3 

- 2.4 

26.6 

30 

24.0 

86.0 

- 2 

- 1.6 

28.4 

31 

24.8 

87.8 

- 1 

- 0.8 

30.2 

32 

25.6 

89.6 




33 

26.4 

91.4 

Freezing point of water. 

34 

27.2 

93.2 




35 

28.0 

95.0 

0 

0.0 

32.0 

36 

28.8 

96.8 

1 

0.8 

33.8 

37 

29.6 

98.6 

2 

1.6 

35.6 

38 

30.4 

100.4 

3 

2.4 

37.4 

39 

31.2 

102.2 

4 

3.2 

39.2 

40 

32.0 

104.0 

5 

4.0 

41.0 

41 

32.8 

105.8 

6 

4.8 

42.8 

42 

33.6 

107.6 

7 

5.6 

44.6 

43 

34.4 

109.4 

8 

6.4 

46.4 

44 

35.2 

111.2 

9 

7.2 

48.2 

45 

36.0 

113.0 

10 

8.0 

50.0 

50 

40.0 

122.0 

11 

8.8 

51.8 

55 

44.0 

131.0 

12 

9.6 

53.6 

60 

48.0 

140.0 

13 

10.4 

55.4 

65 

52.0 

149.0 

14 

11.2 

57.2 

70 

56.0 

158.0 

15 

12.0 

59.0 

75 

60.0 

167.0 

16 

12.8 

60.8 

80 

64.0 

176.0 

17 

13.6 

62.6 

85 

68.0 

185.0 

18 

14.4 

64.4 

90 

72.0 

194.0 

19 

15.2 

66.2 

95 

76.0 

203.0 

20 

16.0 

68.0 

100 

80.0 

212.0 

21 

16.8 

69.8 




22 

17.6 

71.6 

Boiling point of water. 




















PHOTOGRAPHIC WORKROOM HANDBOOK 


93 


Readings on one scale can be changed into another by the following for¬ 
mulae, in which t° indicates degrees of temperature: 


R6au. to Fahr. 


Cent, to Fahr. 


Fahr. to Cent. 


9 

-t° R + 32° = t° F 
4 

Reau. to Cent. 


5 

-t° R = t° C 
4 


9 

-t° C + 32° - t° F 
5 

Cent, to Reau. 


4 

-t° C - t° R 

5 



} 


= t°C 


Fahr. to Reau. 



COMPARATIVE VALUE OF STOPS 

The following table is published by Wilhelm Knapp of Halle, Germany, and 
while based on certain speed ratings, is applicable to any plate or film on a 
comparative basis. The photographer is urged to cultivate an instinct for 
fight value and to develop a reflex ability to feel what the proper exposure 
should be under any conditions with a certain stop and to use this table to 
estimate the exposures for other apertures from that deduction. This table 
takes fill, as the stop from which to start and figures toward left and right 
from centers, to f :4.5 as the largest, and to f ;44 as smallest opening. 


//4,S 

//5,5 

//6,8 

CO 

ftwM nln 
tad 

AH 

//16 

//22 

7/32 

7/44 

V1000 

7480 

V 300 

7*40 

7 i*o 

7eo 

Vso 

Vie 

7s 

Veoo 

7400 

7250 

7*00 

Vioo 

Veo 

724 

V,. 

7c 

V&oo 

V 320 

V 200 

7,60 

1 80 

740 

l /20 

7,o 

Vs 

%60 

V 240 

7160 

/120 

Veo 

Veo 

7,6 

7a 

V 4 

%00 

V 200 

7,30 

7,00 

Veo 

7*4 

Via 

Ve 

Vs 

V *40 

‘/160 

l /ioo 

Ve 0 

740 

V 20 

7 ,° 

Vs 

/s 

! 180 

7120 

7,0 

Veo 

Vso 

Vie 

7 s 

74 

/a 

V.40 

7.6 

Vco 

748 

724 

Via 

Ve 

7s 

Vs 

V120 

780 

VfiO 

7 4° 

720 

Vi 0 

Vo 

7a 

% 

Vioo 

764 

1 40 

Vsa 

7 ,e 

Vs 

V 4 


I 

7*° 

748 

730 

724 

Vi. 

7e 

V. 

Vs 

iVs 

Uo 

V 4 0 

7,5 

7*o 

7,0 

74 

/a 

I 

2 

748 

7,1 

7*0 

7,c 

7s 

74 

/a 

I 

2 

V„ 

724 

715 

7,6 

7 e 

7 s 

Vs 

iV 8 

2 Vs 

V24 

7,6 

7,0 

7, 

,74 

72 

I 

2 

4 , 

Vi, 

7,2 

7 s 

7 c 

7 , 

Vs 

iVs 

2 9 /s 

57 s 

l /,a 

7,0 

7 . 

74 

Vs 

V* 

I 1 /* 

3 

6 

7,, 

V 8 

Vo 

74 

7 , 

1 

2 

4 

8 

7 10 

Ve 

74 

7 , 

7. 

1V4 

aVa 

5 

10 

V, 

74 

Vs 

7 * 

V4 

I 7 a 

27 * 

6 

12 

7* 

174 

2 

2 V 2 

5 

10 

20 

40 

80 

4 

6 

IO 

12 

25 

50 

IOO 

200 

4 °° 

8 

12 

20 

25 

50 

100 

200 

400 

800 























94 


PHOTOGRAPHIC WORKROOM HANDBOOK 


MEDICAL, SURGICAL, DENTAL AND CLINICAL 
PHOTOGRAPHY 

While this generic title has been given to a branch of photography 
the fact is that, excepting X Ray work, a scientist taking a picture 
and a photographer exposing a negative to a landscape or portrait 
is virtually doing the same things but adapting the procedure to 
his individual purpose. The nature of the materials used, the plac¬ 
ing and intensity of the light, the length of the exposure, the develop¬ 
ment of the negative, the printing therefrom are subject to identical 
laws. Each successive operation is proportioned and modified by the 
previous, by the material used, and by the object to be attained. 

Clinical record making by means of the camera has become an 
essential of modern practice. The immediate usefulness of a photo¬ 
graph and the possibility of studying its minutae with or without 
microscope must be evident but the place such a visual record has in 
histiology cannot be overestimated and has been only partially recog¬ 
nized. The time is coming when a surgeon—general or specialist— 
will have his library of photographs perhaps bound, certainly indexed. 

This department of the Handbook shall not repeat the processes of 
development and printing excepting and inasmuch as specialized treat¬ 
ment is imperative and choice is offered. Nor shall equipment be dealt 
with since any dealer is prepared to exhibit and demonstrate cameras 
and other units made for the specific purpose. It may be pertinent to 
stress the need of the best in cameras, shutters, lenses, and material. 
The finished product can be no better than the things used in 
making it. 

General advice takes the form of precautions against failure. Path¬ 
ological cases are available for limited times and comparatively rare 
occasions and are naturally nervous. Develop efficiency in prepara¬ 
tion, procedure, and manner. Have everything ready and to hand 
with the precautions of an operation. In fact the surgeon would do 
well to train his favorite nurse in photography and to delegate 
mechanical details to her as he would with the case itself. 

The lighting should be highly selective and critically focused and 
aimed. It should illuminate the part to be photographed and leave 
the eyes of the subject in darkness. A flat lighting is signified for 
structural detail, by which is meant a diffused light from directly in 
front. A light on either side, throwing diagonal rays and stronger on 
one side than on the other is advisable where contour is the objec¬ 
tive. For delicate work part exposure with the flat light and part with 
the front light turned off and the before-mentioned sidelights on will 
achieve both detail and stereoscopic effect. 

The room in which the pictures are taken should be so arranged 
that daylight may be excluded. The lighting should be standardized 
by wattage, material used, and aperture so that the elements of failure 
which lie in variety may be eliminated. The axiom being that with 
the same light on the same emulsion, through the same aperture, for 
the same length of time, the same results may be expected. Develop¬ 
ment should likewise be standardized as to ingredients, temperature, 
and time. 

The development will, quite as much, be identical with the formulae 
and modus operandi as with ordinary photography. The same devel¬ 
opers modified to give more, or less density—or more or less contrast, 
in order to bring out the desired points. Constituents, time and tem¬ 
perature being the factors. 


PHOTOGRAPHIC WORKROOM HANDBOOK 


95 


To the professional man, therefore, who would make this book serve 
his purpose I should advise studying the parts of the Handbook which 
deal with exposure, development, and printing in the abstract. For 
his specific benefit the special formulae have been added. 

Surface lesions may generally be recorded in two exposures. One 
print to give the distribution and extent of lesion or lesions with 
inclusion of identification environment points or landmarks, and an¬ 
other taken close up and if the lens permit, full size to give detail and 
character. Whenever the condition of the patient permits use slow 
plates or films and give ample exposures for textural records. 

If records are to be made to scale the ground glass may be ruled so 
as to register a quarter inch to the inch and the camera be moved 
toward or from the patient till the proportionate reduction is accu¬ 
rate. Where the camera and its objective are made for the clinical 
purpose a scale is furnished by the maker showing relative placings. 
For expedient a rule put just above or below the part to be photo¬ 
graphed and included on the picture will be found serviceable. This 
will carry its meaning through any future enlargements without 
further computations. The measurements on the rule always speaking 
for the proportions in absolute figures. 

We have spoken of directed light but must not be understood to rec¬ 
ommend spot or focused lights. Flood lights in all cases, please, with 
such interception as is advisable supplied by screens or opaque 
cardboard. 

Deep lesions almost defy preadvice. The instance must govern the 
operator. Studying the case and devising means to get the best light¬ 
ing can be our only directions. Hold no expedient in contempt. If the 
specimen or case be dry it will be comparatively simple to direct the 
light from above and to one side within the angle of intercepting 
contiguities. Small hand-mirrors or white cards may be used as re¬ 
flectors and in this the trained nurse will be found invaluable. Such 
reflectors will do much to obviate strong shadows. 

Where the condition of the patient is critical and time is of vital 
importance the prefocusing of lens and pre-arrangement of lights 
will suggest itself. This will call for large apertures and short ex¬ 
posures. The fact still remains that smaller apertures and longer 
exposures give sharper images and flatter fields. 

Where snap-shots of actual operations are desired a comparatively 
optical plane mirror of about three feet square may be carried from 
point to point by the nurse while the photographer so places his 
camera as to get the image by reflection. Some practice and team 
work will bring a proficiency in this method of working that will 
repay all concerned. As far as I am informed the device has never 
been used or suggested, yet to prepare this text I have experimented 
till the trick was comparatively easy and sufficiently successful to 
warrant its inclusion here. 

The dental surgeon and odontologist will find his clamps, tools of 
trade, and usual devices useful in laying bare the parts to be photo¬ 
graphed and the details of lighting will be rather simple for him 
except where deep caries are to be explored or anterior dark places 
to be illuminated, in which case even the tiny dental mirror will help 
to reflect light to the focal point. The head of the patient must, of 
course, be immobilized and with a well muscled but gentle handed 
nurse this will be no difficulty. The tongue may be gripped and filter 
paper or white blotter paper will offer sufficient dryness and adhesion 
for that purpose. The labia will need the clamps. 


96 


PHOTOGRAPHIC WORKROOM HANDBOOK 


The foregoing subject matter, it will be seen, is mainly suggestive. 
It is the author’s firm belief that before attempting highly specialized 
operations in photography as in other branches of science, the indi¬ 
vidual should be prepared basically with the rudiments and a certain 
proficiency. These pages are intended to furnish the essence, the 
compacted, perhaps some new viewpoints of clinical procedure. For 
more intensive instruction we may refer the reader to books on the 
special subjects. 

PHOTOMICROGRAPHY 

It were arrant nonsense to assert that what space shall be given 
this subject here can even hit the high spots. Several books might be 
filled and still much be left unsaid. To what purpose does the reader 
propose putting his microscope? Chemistry? Botany? Geology? Phys¬ 
iology? To what ends shall photographs be made of the things under 
the microscope? Bach offers a subject for a volume of its own. 

The policy of this Handbook and its intention shall be conserved 
here as in other departments between the covers. This is no primer 
and it is to be presumed the reader knows what he is about and what 
he wants. So we shall try to serve him with what will be useful in 
the workroom not the classroom. Nor shall home-made devices and 
cheap expedients be dealt with or recommended. In so highly spe¬ 
cialized a pursuit the best equipment and the proper selection of it 
for the specific purpose is to be accepted as essential to success. If 
your microscope is a toy get a play book. 

Such firms as Carl Zeiss, Wollensak Optical Company, Bausch and 
Lomb, Leitz, the Spencer Optical Company, and the Pinkham & Smith 
Company, make apparati that completely cover the needs of a, photo- 
micrographer. The ideal outfit is microscope and camera mounted on 
a floating bed that vibrates, swings, moves every way in unison, all 
its parts synchronized to any impulse. The tremendous magnifications 
make this imperative. 

The eyepiece may or may not be used. Personally we approve of 
using the eyepiece if the light be sufficiently powerful as it dispenses 
with the super-long bellows extension needed otherwise. What errors 
exist in the objectives may be corrected by the eyepiece. 

Definition and minutae should never be sacrificed for size. A smaller 
but crisp, clear negative can always be enlarged. 

Should the eyepiece be dispensed with in dark ground illumination 
or for polarization it may be found that interior reflections originating 
in the tube cast a bright spot or flare. Blacking the tube with a mat 
black is prescribed. 

These suggestions are merely stimulative and therefore purposely 
meager. The processes involved in photographing what passes through 
the microscope differ in nowise from simple camera work. What differ¬ 
ences do exist are mechanical rather than scientific or even basic 
and su*ch engineering problems we have left and advise the reader to 
leave to the makers of apparatus. Microscopy is a highly specialized 
science in itself, photomicrography is the combination of two highly 
specialized sciences. Mechanics should be deputed to manufacturers. 
Makeshifts and expedients may suggest themselves and in emergencies 
are acceptable for want of better means, but let us not hope for the 
best results with other than the best equipment. 

It is with a peculiar sense of pleasurable appreciation that we 
refer the reader of these lines to the catalogs of Zeiss, Bausch and 
Lomb, Leitz, Wollensak, the Spencer Lens Company, and the Pinkham 
& Smith Company. This commercial literature makes for a liberal 


PHOTOGRAPHIC WORKROOM HANDBOOK 


97 


education and till studied can convey no part of the tremendous in¬ 
fluence it has in carrying the student, yes and the scholar, to a wider, 
deeper, greater conception of photomicrography. 

FILTERS 

Here again we might detail the means and methods of dyeing gela¬ 
tine films for home made filters but shall do no such thing. The very 
refractive index of the glass to or between which these are mounted 
is too important. The critical optical plane essential to scientific 
accuracy, the nature of the dye and its density or concentration, 


should be relegated to the 

men whose lives are devoted to that pur- 

pose. 



Wratten, Lifa, Agfa, all make reliable filters. Bausch and Lomb and 
Zeiss offer them in the useful varieties and mounted to fit their respec¬ 
tive units of apparati. Taking for example the Wratten Filters: 

A 


Scarlet 

B 


Green 

C 


Blue Violet 

D 


Purple 

E 


Orange 

F 


Pure Red 

G 


Strong Yellow 

H 


Blue 

K3 


Bright Yellow 

We find the scale is complete and combinations may be made to 
divide the spectrum into monochromatic portions, as follows: 

A and 

D 

Deep Red 

A “ 

B 

Brown 

B “ 

E 

Yellow Green 

G “ 

H 

Pure Green 

B “ 

C 

Blue Green 

D “ 

H 

Violet 

In staining the specimen 

these dyes will be found to cover general 


usage: 


Aniline Blue . 

.with filters B and E 

Bismark Brown . 


“ c 



Congo Red . 

it 

“ B 

“ 

C 

Eosine . 

ft 

“ G 

“ 

H 

Erythrosine . 


“ G 

ft 

H 

Fuchsine . 

ft 

“ B 

ti 

G 

Gentian Violet . 

it 

“ B 

ft 

E 

Haematoxylin . 

ft 

“ B 

it 

C 

Iodine Green . 

ft 

“ p 



Methylene Blue . 

ft 

“ D 

ft 

G 

Methyl Violet . 

ft 

“ B 

ft 

E 

Methyl Green . 

ft 

“ F 



Piero Carmine . 

ft 

“ G 

ft 

H 

Rose Bengal . 

ft 

" G 

it 

H 


Contrast is increased with a C and detail in the section with an F 
Filter. 

VARNISHES 

Where cover glass is prohibited a simple and clear varnish may be 
made of Gum Dammar, 1 ounce; Benzole, 5 ounces. Filter and keep 
stoppered and away from light. 

A solution of celluloid of the purest in Amyl Acetate and Acetone 
makes a splendid cover coat. Scrap film with a menace of residual 
gelatine and silver emulsion will not do. 



















98 


PHOTOGRAPHIC WORKROOM HANDBOOK 


DEVELOPERS 


(See “Development Pointers” page 2) 

The readiest developer and most satisfactory for those willing to 
forego pains and care is the M.Q Borax formula of the Eastman Kodak 
Company. It works well with most negative emulsions and is rapid 
enough in action to please the impatient, but it is somewhat deficient 
in contrast. 


Elon or Metol.:. 2 grams 

Sodium Sulphite .100 grams 

Hydroquinone . 5 grams 

Borax . 2 grams 

Water to . 1 liter 

Average time of development 12 to 25 minutes at 6'5° Fahrenheit. 
Phenylenediamine gives a far finer grain but a translucent deposit 
that is prohibitively thin for some subjects. It is slow. 

Phenylenediamine .10 grams or 77 grains 

Sodium Sulphite (Anhydrous) .60 grams or 460 grains 

Water .1,000 OC or 16 oz. 


The best and most troublesome method is to develop with any fine 
grain formula, bleach the image and mordant a suitable dye upon the 
negative. As this gives the image in the infinitely fine subdivision of 
pigment enlarging is a matter of definition, only, uncomplicated by 
granularity. 

Bleach in: 


Potassium ferricyanide. 5 grains 

Ammonium bichromate. 1 grain 

Glacial acetic acid .2 drams 

Water .;.32 ounces 

Wash thoroughly and immerse in: 

Malachite or Victoria Green...2*4 grains 

, Safranine.5 grains 

Glacial acetic acid .2 drams 

Water.32 ounces 


GENERAL ADVICE 

Panchromatic emulsions are advised and unless speed in exposure 
is essential the slower plates are to be preferred. 

Cleanliness, scrupulous cleanliness, chemical cleanliness is impera¬ 
tive in every detail. The lenses, the sensitive material, the trays must 
be clean. An invisible speck of dust on the photographic plate will 
produce a clear spot or hole which will show as a black dot on the 
contact and as a large black blot on the enlarged positive print. Dust 
on the lenses makes for poor definition. Solutions should be filtered 
and the water should really be distilled though boiled and filtered 
rain water will do. Filter your solutions after they are compounded 
so that undissolved or sedimental chemicals may be eliminated. Handle 
everything by the edges. Finger marks are serious defects in photo¬ 
micrography. 

Let me stress the admonition to get the best. The best equip¬ 
ment, the best material, the best chemicals, and with these give the 
best effort and care to details. You will achieve the best results. 

Eastman, Defender, Agfa-Ansco, Gevaert, Wellington, Ilford, Im¬ 
perial, Hammer, all produce panchromatic emulsions which, while 
differing in certain sensitivities along the scale of spectral colors are 
unqualifiedly reliable and to be recommended. 


















PHOTOGRAPHIC WORKROOM HANDBOOK 


99 


CLOTH BACKING PRINTS 

Since photographs have come so generally in use, taking the place 
of actual samples for merchandising, the prints are often backed with 
cloth. 

Commercial photographers for sometime were compelled to buy 
silesia and more or less fit textures which they coated with paste or 
glue and squeegeed to the print, which was then put under pressure. 

Sometimes the job turned out neat and more often there were 
wrinkles and cockled surfaces. 

Then came Adhesive Cloths made for the one purpose and planned 
to obviate the difficulties. There are several brands on the market of 
reliable quality made with the consideration of the photographer’s 
needs as the prime factor. # 

Holliston Mills are specialists in technical texture products and 
their line of Photo Cloth comes in white, colors, and one or both 
sides adhesive. The linen like texture is very finely woven and if 
directions be followed the adhesion is so perfect that paper and cloth 
become one integral substance. 

After the final washing a glossy print is placed face down on a 
ferrotype plate but is not squeezed. A sheet of adhesive cloth is now 
pulled with an even, quick motion through clean water and is care¬ 
fully placed on the print with the adhesive side down, of course. The 
layout as it is now is run through the wringer or hand-squeegeed and 
the whole put aside to dry as usual. 

To cloth back Photostat, Blue Prints, and papers without high 
finish proceed just the same except you may dispense with the ferro¬ 
type plate and use a glass or sheet of celluloid, aluminum, or any 
firm surface. 

To mount two prints back to back use the double adhesive Holliston. 
Just carry on as in the instance given, laying the wetted cloth on the 
back of the first print then place the second print on top of the cloth 
and under a sheet of photo blotter squeege. But here a point arises: 
How to register the two prints accurately? Easy enough if you work 
on a sheet of glass so supported by four legs or a box as to permit a 
light being placed underneath. A little ingenuity will suggest ways 
and means for mounting glossy prints the same way but I have never 
succeeded in maintaining the high gloss of two squeegeed prints other¬ 
wise than by taking them dry and sponging the back of each, then 
squeegeeing first one then the other to the double faced cloth which 
was, of course, properly wetted. 



100 


PHOTOGRAPHIC WORKROOM HANDBOOK 


A DARKROOM LABORATORY IN A CIGAR BOX 

So many readers have asked me how they might develop their va¬ 
cation negatives on the spot where taken so that if they were to 
prove failures they might be retaken, that it might be well to give 
space to a simple reply which will cover that and other propositions 
of a like sort. 

I have had an aluminum box made of just the right size to hold 
with snug fit three enameled trays, a graduate, a stirring rod, and 
several cartons of Tabloid Developing, desensitizing, clearing, and 
fixing chemicals. The outfit is somewhat larger, not much, than a 
one hundred cigar box and its weight is certainly far less than a 4x5 
camera. 

With such an outfit one needs only water and darkness to complete 
a photographic darkroom. Both are furnished by nature in the proper 
places and time. 

There is one simple device that has served me many times in many 
ways. My flashlight is just the ordinary sort but I have cut some 
Wratten filter film to fit behind the lens which can be easily placed 
and held by unscrewing the top, putting the film against the lens and 
screwing on again. By this light plate holders may be reloaded, pan¬ 
chromatic film developed, and in the case of color plates or Lignose 
Film by using the Burroughs Wellcome Desensitizer Tabloids, as 
directed by the maker, development may be comfortably carried out 
in sight. 

Such a lamp is too useful to box and should be kept in the pocket, 
always available, but by enlarging the aluminum case of which I have 
spoken even that can be fitted in and an extension cord and connection 
with a low power ruby bulb added to cut in on any automobile cir¬ 
cuit taking juice from the storage battery. With such amplification 
and elaboration the mountain climber and auto tourist may travel with 
all the possibilities, if not all the comforts of the home darkroom. 


SS? ‘TABLOID’ brand 

PHOTOGRAPHIC 

CHEMICALS 

Make method precise and 
manipulation easy. Good 
results are certain. 

‘TABLOID’ ‘RYTOL’ Uni- 
versal Developer 
‘TABLOID’ ‘TANCOL’ 
DEVELOPER 

‘TABLOID’ DESENSITIZER 
‘TABLOID’ TONERS 
‘TABLOID’ CHROMIUM 
INTENSIFIER 
‘TABLOID’ REDUCERS 

All Photo Dealers 

Burroughs Wellcome & Co. (U.S.A.) Inc. 
New York 

Phone 1313 Ex. All Rights Reserved 


Everything Photographic 

Georg© Murphy, Inc. 

57 East 9th Street 
New York City 


Carbon and Carbro Supplies 
Bromoil Materials 

New Imported Self'Toning Papers 
in Colors 

Watkins Specialties 
Thornton*Pickard Reflex Cameras 
Trichrome 3 Color Process 
Penrose Process Annual 
Wynne’s Infallible Exposure 
Meter 

New Mammoth Photo Supply 
Catalogue 


Send for FREE COPY of our 
Monthly Magazine, Snap Shots 


BROOKS PRODUCTS 
for 

Better Photography 

Advanced workers find their most 
exacting requirements well taken 
care of in the following photo* 
graphic products. Correspondence 
solicited. 

Schneider lenses. “A lens for every 
purpose.” 

Kawee Cameras. Utmost in com* 
pactness and efficiency. 
Rolleiflex Cameras. Roll film reflex, 
the world’s favorite. 
Heidoscope and Rolleidoscope Cam¬ 
eras. The utmost in stereo 
cameras. 

Linhof Precision Cameras. For the 
most advanced workers. 

Triax Tripods. Light, but extreme* 
ly strong and rigid. 
Ramstein-Optochrome Filters. Of 
the finest optical glass only. 
Free trial gladly arranged through your 
dealer. Write for catalogs. 

BURLEIGH BROOKS 

136 Liberty Street New York City 


T 

JL HE Pictorialist finds 
beauty with an eye trained 
to see it, but in perpetuat* 
ing his emotions on the 
print he chooses 

"Smith" 

Soft^Focus Tenses 
P. S. 

"Semi^Achromat" 

MADE ONLY TO ORDER 

"Visual Quality" 
"Synthetic" 

A booklet, beautifully illustrated by 
well-known camera artists sent 
upon request. 


P1NKHAM & SMITH 
COMPANY 

Two Stores: 

292 Boylston St. 15 Bromfield St. 

Boston, Mass. 


I 
















By Leonard A. Williams, F. R. P. S. 

Director, Visual and Industrial Education, 
State Teachers College, St. Cloud, Minnesota 


If Teaches the Amateur to see beauty 
If Teaches the Observer to record beauty 
If Makes Composition easy 
If Shows the way to do things Pictorially 
and 

If For those who need it, how to apply all 
this to an art and business career. 

Acceptable to both the Amateur and Professional 
Cloth Bound, #3.00 

Camera Craft Publishing Co. 

703 Market Street San Francisco, California 



II 

















A GREAT, GREAT PAPER 
FOR FINISHING! 

NOM IS is a great paper for finishing. It has 
to be to make good with the finisher of today. 
Short-notice delivery and bulk production have 
made new demands on the finisher—and the 
paper he employs. 

NOMIS says good-bye to guesswork, to 
waste, and to make-overs. It discounts ex¬ 
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prints are the kind you’ll be proud to deliver. 

Write for special TRIAL OFFER card 


THE HALOID CO., Rochester, N. Y. 

NEW YORK OFFICE BOSTON OFFICE CHICAGO OFFICE 
225 Fifth Ave. 101 Tremont St. at Bromfield 68 W. Washington St. 

San Francisco Agent, A. H. MUHL, 143 Second Street 
Los Angeles Agent, A. H. MUHL, 643 S. Olive Street 
Seattle Agent, A. H. MUHL, 709 Second Avenue 


III 







A COURSE IN 


COMMERCIAL 

PHOTOCOLOMING 

(WATER COLORING) 

There is profit and pleasure 
in coloring photographs. 
Learn it at home, quickly and 
easily by the Le Heart 
Method. 

The course teaches coloring 
on glossy prints, painting of 
greeting cards, agents’ sam¬ 
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containing 10 lessons, 8 8x10 
photographs, color harmony 
chart and a certificate entitl¬ 
ing you to personal criticism 
by the author, Avenir 
LeHeart. 

#5.00 


CAMERA CRAFT BOOK 
SERVICE 
703 Market Street 
San Francisco, California 


How to Sell 
Photographs 

By John IVells 

A very practical manual de' 
scribing the best means and 
methods for the freedance 
cameraman. Contains valu' 
able chapters on developing 
the “nose for news.” 

Price $1.50 



from 

CAMERA CRAFT BOOK 
SERVICE 
703 Market Street 
San Francisco, California 


A New and 
Outstanding Book 
on Portraiture 

“Studio Portrait Lighting” 

By Herbert Lambert, F. R. P. S. 

Here is the really instructive book 
which all those interested in good 
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Its author is internationally known 
as a leading exponent of the finest 
in photographic portraiture. 

The text, the pictures, and the 
diagrams are each alone worth many 
times the price of the book. 

No one who makes or intends to 
make portraits, professionally or as 
an amateur, can afford to be with' 
out it. 

Price $4.50 

Camera Craft Book Service 

703 Market Street San Francisco, Cal. 


Principles of Photographic 
Pictorialism 

By F. C. Tilney 

A survey of the progress of PictO' 
rial Photography from its begin' 
nings to the present day and a com' 
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tures. The author is perhaps the 
best known photographic critic writ' 
ing today and his long experience 
as both photographer and painter 
is reflected in the excellence of this 
remarkable book. 

Price $5.00 



Camera Craft Book Service 

703 Market Street, San Francisco, Cal. 


IV 





































Many Factors 


are involved in the making of the 
picture — selection of subject, com¬ 
position, lighting, exposure, skillful 
manipulation of the plate or film— 
but it is the print that tells the story. 
And the print is paper. 

Professional Cyko, Cylko, Enlarg¬ 
ing Cyko, Enlarging Cylko, Cyltex 
and Enlarging Cyltex, Nippon 
Crepe and Nippon Crepe Enlarg¬ 
ing, Crystal Stipple, Ansco Bromide 
and Noko are mediums of expres¬ 
sion which reward the photographer 
with a completely satisfactory result. 




Ansco Corporation 


Binghampton, N. Y. 


V 






Herbert Luhn says ^ 

((If a square deal to you and a fair profit to us means any' 
thing you will remember our address. 

d[ If standing behind our goods and guaranteeing anything 
we sell to be as represented means succeeding in business, 
our success is explained. 

C[ We have what you want in new and reconstructed pho' 
tographic instruments. 

(( We want what you have if you no longer want it and 
will make an honest allowance therefor. 

C[ Everything Photographic, new and used. From every' 
where to anywhere. Write, phone, wire, or come. We 
Welcome You. 

SAN FRANCISCO CAMERA EXCHANGE 

88 Third Street, near Mission San Francisco, California 

Telephone KE arny 5475 


AMATEUR 
ENLARGIN G 

By Sergeant John P. O’Callaghan 

This is a cloth bound book leading the amateur into that 
delightful field of Enlarging. 

Excerpts from Camera Craft add to its value 

SIMPLE ' READABLE ' INSTRUCTIVE 

50 cents 

At Your Dealer or from 

CAMERA CRAFT PUBLISHING COMPANY 

703 Market Street San Francisco, California 



VI 

























AVUS 



Equipped with 

F 4.5 SKOPAR 

Anastigmat Lens 

IBSOR SHUTTER 
CABLE RELEASE 

9x12 cm. 

EOR EILM PACK 

and 

PLATES 

Double extension. Fine grain 
leather bellows. Iconometer 
direct finder. Brilliant, indb 
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Rise and fall and lateral 
movement by rack and pirn 
ion. . . Self adjusting focus' 
ing hood. . . Two standard 
size tripod sockets. 

$35.00 

mjyiLLOUGHBY^g 

™ HO West 3*nd St.^ 

Opposite Qimbels 

NEW YORK 


Do you have calls for 

Halftone 
Engravings 

from your photographs? 

Here is a book, “Commercial Engraving 
and Printing” by Chas. W. Hackleman, 
that will enable you to satisfactorily handle 
orders for engravings or assist you in help¬ 
ing your customer to get what he wants. 

It tells how to obtain the best photo¬ 
graphs for reproduction, how to determine 
size, gives hundreds of examples, showing 
methods of treating illustrations to get 
effective results, how copy should be pre¬ 
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840 pages, over 1500 illustrations, 35 re¬ 
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Examples by every process, many in 
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Price $15 postpaid. Prospectus showing 
sample pages, full outline of contents, etc.-, 
on request. 

Camera Craft Publishing Company 
703 Market Street San Francisco, Cal. 


LEARN TO COLOR 


PHOTOGRAPHS 

At Home 

Two complete courses; one of 
Landscapes; one of Portraits. Each 
consists of 10 lessons, 8 8x10 Pho* 
tographs, 1 Color Harmony Chart, 
1 Certificate for correction and 
personal criticism by 
Avenir LeHeart 


Each Course Postpaid $5.00 


Camera Craft Publishing Company 
703 Market Street, San Francisco, Cal. 























CAMERA 

CRAFT 

A MONTHLY MAGAZINE 
OF 

PHOTOGRAPHY 


Camera Craft gathers beauty, facts, fundamentals and all sorts 
of interesting information from all over the world to keep its 
readers fully informed. 

It is peculiarly and particularly devoted to giving service. 

You may come to it for advice and you will always find it 
willing to help you solve your photographic problems. It has 
served the amateur and professional for over a quarter cen' 
tury. 

It has a Cine Department that makes a specialty of new 
wrinkles and information not to be found elsewhere. 

U. S. $2.00; Canada $2.25; Foreign $2.50 
Sample on Request 



CAMERA CRAFT PUBLISHING COMPANY 

703 Market Street San Francisco, California 



VIII 

















For Best Values and For the Best Bargains 

in 

CAMERAS, KODAKS, LENSES and 
MOTION PICTURE EQUIPMENTS 

Refer to our very latest and most complete 

CATALOG and BARGAIN BOOK 
BOTH SENT FREE ON REQUEST 

New goods only are listed at substantial 
savings in our catalog and goods which 
have been used but are sold with the 
same guarantee as new goods are listed in 
our Bargain Book. 

10 Days Trial Allowed or Money Refunded If Not Satisfied 
SECURE YOUR COPIES NOW 

CENTRAL CAMERA COMPANY 

230 S. Wabash Av., WH.-3, Chicago, Ill. 


Fasten Your j 

Masks 

Mount Your 

h There is Nothing 

Better Made for the 

Prints 

Purpose Than 

Protect Your 
Fingers 

From chemical action by 
painting with or dipping in 

Victory Water 
White Cement 

Victory Cements 

or 

Victory Frisket 

Your Dealer Has It or Can Get It 

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For You 

Victory Manufacturing Company 

211 Elizabeth Street 

Syracuse, N. Y. 


IX 











SERVICE 


Would you like to know what books 
are available on a given subject? 


What books are generally considered 
as best? 


What you should read to aid you in 
mastering a given process? 


Camera Craft Book Service will answer 
your questions with pleasure 

Catalog on Request 


Camera Craft Book Service 

703 Market Street San Francisco, Calif. 

_ 


X 



















FORGING AHEAD 

For almost half a century Hammer made emulsions have 
found and are still finding a ready market, because 

It’s so easy to select a special brand for any picture you 
are called on to make— 

It’s so easy to make better photographs than the ones 
you thought were best. 


Write for free Portfolio of Prints 

“PHOTOGRAPHS tell the story” 



HAMMER DRY-PLATE COMPANY 


Ohio Avenue and Miami Street, St. Louis, Mo. 
159 W. 22nd Street, New York City 


Laws Which Affect the Photographer 


Order Novo and Receive Your Copy Promptly 

Here is a book that will save you many moments of doubt or embar- 
assment. A book that will save you time and money by keeping you 
free of legal difficulties. Look at these Chapter Headings— 


1. Taxation Laws Involving Studios. 

2. Itinerant Photographers and When They Must Obey License Ordinances. 

3. Ownership of Negatives. 

4. Copying Pictures, Illustrations and Labels. 

5. The Copyright Law as It Relates to Photographs. 

6. Liability of Photographers for Making Extra Copies of Portraits. 

7. Validity of Contracts Stopping Seller from Establishing Competing Studio. 

8. Restraining Ex-Employees from Divulging Secrets or Entering Business. 

9. Contracts Between Photographers and Customers. 

10. Legal Rules for Making Collections. 

11. Guaranteeing Satisfaction to the Customer. 

12. Liability for Contracts and Agreements Made by Employees. 

13. Sales Contracts and Guarantees Made by Salesmen of Supplies. 

14. Liability for Injuries Sustained by Paid Models. 

15. Law of Compensation for Injuries Sustained by Employees. 

16. Liability for Articles Left at Studio to be Photographed. 

17. Release Blanks for Sitters, Models, Etc. 

18. Points to Watch in Insurance Policies. 


FROM 


#3.00 Cloth Bound 


Camera Craft Book Service San Francisco, Cal. 


XI 





















An Exposure 
Worth Making 

is worth saving. Negatives which 
come out too faint to print well can 
be saved by a short immersion in 

VICTOR 

Intensifier 

a simple, single-solution intensifier 
of great strength. 

Your Dealer Carries and Recommends It 
PRICES 

Powder makes 4 ozs., 20 cents. By mail, 25 cents 

2 Powder makes 8 ozs., 35 cents. By mail, 40 cents 

3 Powder makes 16 ozs., 65 cents. By mail, 72 cents, 

We also manufacture a complete line of highest quality Flashlight 

Powders; Flash Cartridges; Hand Flash Lamps; Standard Supported 
Open Flash Lamps; Smoke Confining Flash Bags and 
Studio Flash Cabinets. 

Complete descriptive catalog will be sent upon request 

JAS.H.SMITH & SONS CO., 1229 So. Wabash Ave, Chicago 


Print obtained from the 
half of the negative which 
had been intensified for 
1% minutes in Victor 
Intensifier. 


This side shows print 
obtained from the 
half of the negative 
which was not in¬ 
tensified. 


I Sizes 
No. 1 
No. 2 
No. 3 


1 



Tessars 
Tele Tessars 
Tri otars 
Protars 

Double Protars 
Telephoto Lenses 
Distars—Proxars 
Filters, etc. 


There’s a 

CARL ZEISS LENS 

for every photographic requirement. 
CARL ZEISS, INC. 

485 Fifth Avenue, New York 
728 So. Hill St., Los Angeles 

fjSfOEjSs] 

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The Holliston Mills, Inc. 


NORWOOD, MASS. 


BOSTON 

CHICAGO 


NEW YORK 
ST. LOUIS 


The adhesive cloth for backing photographs, 
photostat prints and blue prints 


HOLLISTON PHOTO CLOTH 

One Side Adhesive 

The Standard cloth for all general 
backing purposes. Formerly made 
only in White but now furnished in 
Navy Blue and Quaker Grey. The 
darker shades do not soil easily and 
are popular for use on prints which 
are used in salesman’s sample books, 
catalogs, portfolios and albums, and 
for photographs, photostats and 
blue prints which are subjected to 
constant use. 

HOLLISTON PHOTO CLOTH 

Adhesive Both Sides 

For the first time a backing cloth 
with both sides adhesive is available 
to the photographic trade. Commer¬ 
cial photographers, and makers of 
photostat prints and blue prints will 
quickly appreciate the economy, speed 
and convenience to be found in a 
fabric that mounts two prints back- 
to-back without the use of other 
adhesives or expensive machinery. 


Sold by 

Authorized Holliston Dealers 


15 

points of Superiority 

1. Speedy 

2. Economical 

3. Convenient 

4. Self-adhesive 

5. 7 standard sheet sizes 

6. Convenient packages 

7. Is not gummed 

8. Does not curl 

9. Does not fray 

10. Has no odor 

11. Not affected by 
cold or dampness 

12. No fuss 

13. No muss 

14. Reasonably priced 

15. GUARANTEED! 


Write for samples 
and prices. 


heat, 


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ALL MATERIALS AND ACCESSORIES FOR 

Bromoil and Bromoil Transfer 

Devised, perfected, personally supervised and tested by 

DR. EMIL MAYER 


DREM BROMOIL PAPER, a special emulsion of high swelling temperature, 
white or chamois. 

DREM COPPERPLATE TRANSFER PAPER, the wonderful printing 
paper of the Master etchers, highly absorbent, surface treated, with 

rough and smooth surface. 

DREM BROMOIL BLEACHING POWDER, in cartridges, instant, perfect 
permanent. 

DREM BROMOIL PIGMENTS, in collapsible tubes, clean working, very 
quick drying, blending, all colors of equal consistency. Standard set of 
five colors and Medium, or selection of eighteen single colors. 

DREM BROMOIL BRISTLE BRUSHES, working surface up to inches, 
specially selected bristles, bound in fourfold wire-loops, exceedingly elas- 
tic and durable. 

DREM BROMOIL TRANSFER PRESSES, specially designed, non-slipping, 
central pressure regulation. 

DREM COMPLETE BROMOIL OUTFITS, containing an expertly se- 
lected set of materials and accessories for regular work. 

DREM BROMOIL ACCESSORIES: Mastic Rubber, Galalith Spatulas, 
Atomizers, Thermometers, Stumps, Tear-off Palette Blocks, etc. 

The Automatic Exposure Meter 

JustopJiot 

Price, With Sole Leather Case, #10.50 

For Still Photography 



The Automatic Exposure Meter 

Cmophot 

Price, with Sole Leather Case, #12.50 

Universal Exposure Meter for 
Cine and Still Photography 


Dremophot 
Especially for Filmos 


The Automatic Print Exposure Gauge 

Dremmeter 


For Contact Prints or Enlargements 
334x4/4 Film. Price, #1.00 


Ask your dealer or write direct for complete price list 

DREM PRODUCTS CORPORATION 

152 West 42nd Street—New York City 


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